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This 1958 session predates the epic ‘Kind of Blue’ by one year and features half of that classic line up. In many ways the recording is a precursor to the Coltrane ‘Ballads Album’ with the notable difference that ‘Standard Coltrane’ showcases four extended standards on a superior blowing date, and as such enables the listener to enjoy the sheer beauty of ‘Trane’s playing with sensitive accompaniment on piano arriving in the shape of Red Garland and trumpeter Wilbur Harden. In fact the album was originally issued four years after the recording date to cash in on Coltrane’s new found success. Taken at a slower tempo than per usual and meandering for over ten minutes, ‘Invitation’ is transformed into a leisurely blues with lovely bass soloing from Paul Chambers. Trumpeter Harden is featured at length on the Rodgers and Hart composition ‘Spring is here’, playing in unison with Coltrane. Perhaps the jewel in the crown is the ballad ‘Don’t take your love from me’ with a beautifully restrained solo from Garland. Clearly the pianist had a natural empathy with the tenor saxophonist. New sleeve notes from jazz writer Ashley Kahn shed new light on the historical importance of the session and the re-mastering by original engineer Rudy Van Gelder is clear. No extra tracks.  Tim Stenhouse

Two separate 1950s sessions are grouped together on this album including an earlier 1953 set that unites Miles Davis with the great Charlie Parker under a pseudonym and a 1956 date with Sonny Rollins and members of the line up that would record the seminal ‘Saxophone Colossus’ in the same year. The former is not in fact an original Rudy Van Gelder recording, but is fascinating for its pairing of a young Miles with an end of career Parker alongside tenorist Sonny Rollins and piainst Walter Bishop. On the now jazz standard ‘Round Midnight’, Davis states the theme with elan and is followed by solos from Rollins and Parker. The composition clearly made an impression on the young trumpeter for he would revisit it at various stages of his career subsequently. Evidently the telepathy between band members is more apparent on the second date with Flanagan and Rollins understanding each other wonderfully as on ‘No line’. In fact there is relatively little playing by Miles. While not essential Miles Davis, this provides compelling evidence of how his sound developed and and as such will make enjoyable listening for the jazz and Miles Davis aficionado alike.  Tim Stenhouse

The follow up to the excellent ‘Techari’ from 2006 and a subsequent triumphant tour, Ojos de Brujo return with ‘Oacana’ (gipsy term for ‘now’)that is every bit as good as its predecessor and once again demonstrates the diverse take on traditional Catalan rumba and flamenco influences. Over a series of albums Ojos de Brujo have created a distinctive sound and identity, and now on a major label the rootsy indie feel to their music remains undiminished. Dancefloor action is guaranteed on ‘Rumba del adios’ that successfully fuses Catalan rumba with old school salsa horns. An even more interesting collaboration is that of inviting members of legendary Cuban band Los Van Van, including ace pianist Roberto Carcasses, on the riff laden ‘Busca la bueno’ with piano vamps and percussion added in for good measure. For a slice of authentic flamenco given a modern twist ‘Correveidible’ is simply irresistible and features a piano solo that shows the Cuban guests elsewhere have made their mark on the evolving Ojos sound. The maturity in Ojos’ repertoire is illustrated in the subtle groove that is ‘Baraka’ where rumba and bolero meet (an example in Spanish of ‘iba y vuelta’ or ‘coming and going’ flamenco where influences from outside the Iberian peninsular are incorporated before returning in a revitalised form of the genre) while Indian classical flavours are in evidence on ‘Tantas flores’. Fetching cartoon graphics on the cover and a lavish gatefold sleeve with bilingual lyrics complete an extremely well rounded set. Catch them if you can at a very limited number of concerts ending in Liverpool at the beginning of May.  Tim Stenhouse

Long-time arranger for Kurt Elling and pianist Laurence Hobgood has released an album that highlights his own talents and in the intimate setting of bassist Charlie Haden and the occasional vocals of close collaborator Elling. Stylistically influenced by the romantic tradition of piano jazz playing perfected by Bill Evans, it is the apparent simplicity in style that immeidately impresses. However, in leaving space and playing the right notes lies the real skill and this is one of the album’s strengths. Of the three original compositions, ‘When the heart dances’ stands out and ‘Leatherwood’ reveals the refined side to Hobgood’s writing skills. Otherwise it is an immaculate selection of the American songbook with a reflective and even mournful take on ‘Que sera sera’. Meanwhile Haden supplies his own composition on ‘First song’ on which he takes a lovely bass solo and, as ever, Hobgood is very willing to share musical space. Elling excels on ‘Stairway to the stars’ which is an ideal ballad vehicle while Hobgood stretches out on an extended solo before Haden joins in on ‘New Orleans’. While not possessing a highly individual sound, Hobgood is a truly gifted arranger and accompanyist, and on this recording for hi-fi specialist label Naim has delivered a varied album in a minimalist setting and one which provides great pleasure with repeated listening.  Tim Stenhouse

In his early twenties Dexter Gordon was one of the most promising tenor saxophonists alongside Wardell Gray and Teddy Edwards on the West coast jazz scene. However, his much heralded first albums gave way to a serious drug addiction during the early to mid 1950s and by the time he had sorted himself out he was hitting the big 40. This is where the collaboration with Blue Note begins and it was a new mature sounding Gordon that emerged to execute a series of immaculate albums for the label. These vary in format from the classic quartet to quintet including trumpet and even quintet with vibes. Six key albums released at the time are previewed alongside two later issues and all cover the period 1961-1965. Most of the favourites are here such as ‘Love for Sale’ and ‘Cheesecake’ from the seminal ‘Go’, the Latinesque hues of ‘Soy Califa’ from ‘Swingin’ Affair’ and even the summery sound of ‘Le Coiffeur’ from ‘Gettin’ Around’. Gordon recorded two albums in Europe for Blue Note and from ‘Our Man in Paris’, ‘Night in Tunisia’ features Bud Powell and Kenny Clarke in an all-star cast. None of the sessions from the film ‘Round Midnight’ in which Gordon starred and earned a grammy nomination are featured, nor are the live sessions from the mid-1960s that Blue Note Denmark issued. A 1965 date with Freddie Hubbard, ‘Clubhouse’ is showcased. The timing overall is generous with even an eighteen minute plus track included in the digipak format. Bizarrely the inner sleeve features Roland Kirk who plays no part in proceedings. Recording dates are indicated, but no notes. This compliation serves as an excellent introduction to the craft of one of jazz’s greatest exponent of the tenor saxophone.  Tim Stenhouse

Way back in the 1970s it was the tradition for aspiring singers and groups in Jamaica to preview songs in front of a producer in the open air back yards of Kingston. Makasound hit upon the idea of reviving this practice, introducing a series of artists with minimalist instrumentation and showcasing some of roots reggae’s greatest practitioners. Volume two provides highlights of the aforementioned and includes Congo member Cedric Myton, Junior Murvin and Linval Thompson as well as groups of the calibre of the Mighty Diamonds and the Viceroys. Indeed it is some of the lesser known musicians that impress most with Kiddus I supplying a superb performance of his classic ‘Graduation in Zion’ with sparse instrumentation giving this cut a dubby feel that original producer Lee Perry would have appreciated. Of course the major names come up trumps with Chinna radically reworking Junior Byles’ ‘Fade away’ as a ballad and the Viceroys delivering an excellent ‘Yahoo’. Perhaps the most interesting finds are the new artists such as Matthew McAnuff (son of Winston?) with his delicious ‘Be careful’ and Barry Ford of long forgotten English roots group Merger and a lovely guitar/melodica take on ‘Rebel’. As ever the sound quality is excellent and the extra unreleased items make this one for the long, lazy summer days and evenings ahead.  Tim Stenhouse

World roots fusion music is a rapidly expanding sub-genre and keyboardist and programmer Garry Hughes and pianist Andrew Mackay have come up with a bold and fascinating East-West musical cross-pollination that successfully combines the orchestral side of Indian classical with the contemporary beats of electronica. Less jazzy than say Shakti, but using the layered strings as effectively as Alice Coltrane did in the early 1970s, this project is truly twenty-first century in its conception with Indian musicians in three cities, Mumbai, Chennai and London, adding their contributions and the sound as a whole being mixed in Wales. The modal bass line on ‘Strange constellations’ serves as the backbeat for the sensitive combination of keyboards and strings. On the repetitive jazz guitar riff of ‘Man at dusk’ inventive keyboards and Indian bansuri swing in unison. Perhaps, the musical experiments of Bill Laswell have proved inspirational for Hughes and Mackay and this is no more evident than on ‘Journey’ where dub and percusssion fuse with the haunting bansuri over a composition that has an epic cinematic quality to it. Indeed one wonders whether the pair would be usefully employed on a film score at some future recording. Vocals and strings come together effectively on ‘Junaan’. Only on a few tracks does the electronica side take over to the detriment of the traditional Indian one. Overall a supremely confident and well executed project that brings music from the Indian sub-continent into the new millenium while respecting its centuries old tradition.  Tim Stenhouse

Long-time Azymuth keyboard wizzard Bertrami embarked upon a solo career as long ago as 1983 with the superb ‘Blue Wave’ and has returned to leader duties with a more upfront and varied album/project than one might expect.
Brazilian grooves from the 1960s and 1970s are showcased here with a fender and acoustic bossa trip on ‘Joanna’ and especially on ‘No tempo da bossa’ where Bertrami clearly feels at home. The title track in contrast is pure jazz funk soundtrack with its use of horns while ‘Laranjeiras’ is a reprise of one of the keyboardists’ older compositions. What is surprising is Bertrami’s delight at playing old-style samba-jazz as on the acoustic tambourim-led ‘Choro’, or the cha cha cha feel of ‘Danca de salao’ which is given a modern updated twist. Of course the reflective side to Bertrami’s craft is not forgotten and he solos on electric piano on ‘Brillante’ and on acoustic piano and organ on ‘O Rescador’. Excellent recording quality throughout enhances the musical pleasure.  Tim Stenhouse

This long sought after album is finally re-issued on CD and was formerly one of the hardest to find vinyl items among the vast Blue Note catalogue with one of the earliest sessions of guitarist Grant Green from 1961. In fact the trio recorded together on Green’s debut, ‘Grant’s First Stand’ while Willette seldom recorded for the label with only two albums as a leader and sideman duties for Lou Donaldson on ‘Here ‘Tis’. Thereafter Willette recorded two more albums for Chicago label Argo both in 1964 before he died in 1971.

Influenced largely by church organists in Chicago and more restrained in approach than Jimmy Smith, Willette impresses here on the self composed track ‘Jumpin’ Jupiter’ which would have made ideal material for the jukeboxes and dancefloors of the early 1960s and the keyobardist takes the initiative from the beginning. The title track is a catchy r’n’b number not dissimilar in flavour to ‘Fever’ and there are nices Latin touches from Ben Dixon on drums. A swinging version of ‘Willow weep for me’ is a pretext for Green to stretch out with those bluesy guitar licks that were his trademark and Willette plays an extended solo. It is the fullness of the trio sound devoid of any horns and yet still occupying the space with aplomb that stands out on the popular ‘Work Song’ where Green excels. Among the burgeoning roster of hammond organ players, Baby Face Willette was one of the least well known. However, it was certianly not due to any lack of talent as this album amply testifies.  Tim Stenhouse

Once more Sterns come up trumps with a sumptuously packaged 2 CD set from the legendary Rail Band that covers three distinct periods of the group’s existence between 1970 and 1983. The rarity of the original vinyl releases on these previously unreleased recordings on CD in Europe makes this an essential item for afficionados of the classic era in modern West African music. The first period is notable for the inclusion of a relatively unknown lead vocalist who proves to be a revelation. It is the impassioned vocals of Magan Ganessy that are the icing on the cake of a superb song, ‘Kibaru’ from 1974 which, with its guitar riffs, incessant percussion and stabbing horns is in some ways a precursor to the epic ‘Mandjou’ sung by Salif Keita while fronting the band. Ganessy impresses also on the wonderful ‘Djamban’ which is a beautiful uplifting tune that again features heavyweight percussion. In contrast, the second period of the mid-late 1970s is
characterised by a highly melodic accompaniment as illustrated on the lilting mid-tempo ‘Tidiane Kone’ from 1977 featuring the vocals of Djelimady Sissoko, and in a more uptempo vein by the tribute to both Afrobeat and Fela on ‘Sinsimba’ with Mory Kante taking on vocal duties. By the third period of the early 1980s, however, the Rail Band’s sound had become more polished, recording facilites had improved and yet there is still a distinctive feel even when synthesizers make their entrance and the brass is less prominent. This is exemplified by the song ‘Diabate’ from 1982. The songs as a whole constitute a vital part of the Rail Band’s repertoire and are an African equivalent by Sterns to the substantial and seemingly tireless documental work that the Smithsonian Institute has carried out and continues to do so for American folk music. As ever detailed bilingual notes accompany proceedings (with beautiful graphics of album covers and original photos), in this case from the expert pen of French musicologist Helene Lee who has written extensively on West African music.  Tim Stenhouse

Ostensibly what should have been a run of the mill quartet of American songbook standards was transformed into a magical session on this 1964 date and one in which organist Larry Young and drummer Elvin Jones excel as much as the leader. Perhaps the most surprising inclusion is ‘I wish you love’, formerly a song immortalised by French crooner Charles Trenet, but here transformed into a classic jazz tune with Green in particular in superlative form. The hanuting ballad ‘Lazy afternoon’ is played in 5/4 tempo and vibist Bobby Hutcherson, fresh from avant-garde excursions on Eric Dolphy’s ‘Out to Lunch’ turns in a stellar performance here. In fact the tempo gently builds in intensity and picks up two minutes in when Green takes up a solo with Jones demonstrating what a sensitive accompanyist he could be. The title track begins in conventional fashion before Jones and Young hijack proceedings with the former undertaking an extended solo and the latter
supplying the polyrhythms that Coltrane loved to play behind in order that Green demonstrate his prowess on those familiar blues-inflected guitar licks. The final piece, ‘Somewhere in the night’, sounds like something that might have been composed for a Jacques Tati film and Hutcherson creates the cinematic ambience over which Green and Young comp beautifully. An awesome session, then, and little surprise that Alfred Lion wanted to record them again a year later in March 1965 on ‘I want to hold your hand’, this time with the additional tenor saxophone of Hank Mobley. The trio performed at a select number of live dates in New York and one can only wonder at what musical treasures these sessions yielded.  Tim Stenhouse

Husband and wife couple Martin Cradick and Su Hart visited the Baka pygmies of Cameroon during 1982 and this inspired them to participate in recordings of traditional Central African music with additional acoustic instrumentation from Congo, Ghana and Nigeria, and even French and Irish folk influences. This latest project has a rootsy feel throughout and will be showcased during May at various dates in the UK. Of particular interest is the fusion of a traditional Irish language song in ‘Illa Dhuinn’ with the indigenous sounds of the ngombi instrument and Su Hart’s vocals. In general the Baka sing in wordless vocals as on the lilting ‘Nahwia’s dream’ and even engage in yodelling on the hypnotic groove of ‘Beyond the forest’ title track. Pleasant summer listening that will appeal to folk and roots fans alike.  Tim Stenhouse

With a decided left-field attitude comes this latest album from Led Bib, a British based and formed quintet comprising rhythm section and two alto saxophones under the tutelage of expat American Mark Holub. Notorious for their anarchic live sound that combines free jazz, thrash metal drumming and all round cacophony of sound, Led Bib’s fourth album faces the same dilemma as its predecessors. Can the group reproduce in the studio the manic sound they generate in a live setting? The answer is a qualified yes. They are at their best on the improvised fusion of ‘Flat pack fantasy’ that might be described as Weather Report on acid, or on the Miles influenced fusion of ‘Squirrel carnage’ that features nice licks from pianist Tony McLaren. Arguably the more reflective side to their playing is hinted at on tracks such as ‘Water shortage’ with clever use of piano and sax. It has to be said that this will not be everyone’s cup of tea and even within jazz circles
may attract marginal interest at best. The album comes with a government health warning for the faint hearted if played loud. Those of a sensitive disposition be warned! Tim Stenhouse

Following up the 2006 debut comes this new recording once again showcasing Vieux Farka Toure’s own compositions and a well rounded and varied album it is at that. Help is on the way from an array of Mali’s top musicians including long time collaborator with and student of of Ali Farka Toure, vocalist Afel Bocoum, and ace kora player Toumani Diabate. Vieux is certainly expanding his musical influences on ‘Fonda’ and one of the album’s highlights and strongest cuts is ‘Diaraby’ where dub meets Malian blues head on with heavy percussion that takes a leaf out of Brazilian samba. This is definitely an avenue that Vieux should explore further in subsequent albums. In a more traditional vein, but no less stunning, is the beautiful duet between guitar and kora with Toumani Diabate on ‘Paradise’. A tribute to the motherland on ‘Mali’features a funky bass and guitar riff with n’goni combining to great effect. By contrast one of the album’s instrumental tracks, ‘Slow jam’ is a lingering blues-inflected piece with the focus firmly on Vieux’s guitar skills. Moroccan gnawa is hinted at on ‘Sarama’ with reggae riffs emerging on ‘Al Haira’. A sense of urgency is conveyed on the uptempo ‘Cherie Le’ with nice guitar solo. In general it is the subtle combination of modern western and Malian influences that differentiates Vieux from his father, though the west African roots are always present even in the background. A beautifully illustrated digipak gatefold sleeve provides striking images of Vieux in his home environment. Ali’s son has definitely come of age on this album and provides evidence of how his future sound may evolve.  Tim Stenhouse

Follow up to his 2006 debut and it’s a solid step forward with the desert blues so much the trademark of his late father now broadened out by the introduction of more modern influences. Check out the dubby ‘Diaraby Magni’ for an idea of the newer influences and ‘Wale’ for the traditional side of things, including guest vocals from Afel Bocoum and ‘Paradise’ with Toumani Diabate guesting.  Highly recommended.  Graham Radley

Buenos Aires born guitarist and singer-songwriter Federico Aubele has carved out a career path that reflects the downtempo side of the electronica genre and one that, similar to Gotan Project, takes on board a multitude of influences that range from dub reggae and tango to Mexican bolero, flamenco and bossa nova. Aubele moved to Berlin in 2001 remaining there until recently returning to Buenos Aires, and it was while there and undoubtedly influenced by the dance scene in the city that he released three critically acclaimed 10” singles for ESL. This latest album, the third full length one, is a natural successor to 2004’s ‘Gran Hotel Buenos Aires’. More refined and intimate, but less rootsy than Manu Chao, Aubele focuses on an all original song selection, invariably sharing chorus vocals with the excellent Natalia Clavier. The opener ‘Luna y sol’ typifies the subject matter of intimate love of the album as a whole and has a dub feel throughout. For dancefloor action, one need look no further than ‘Siempre nuevo’, but even here it is more likely to be the chillout section of the evening’s entertainment. It is the combination of laid back vocal delivery and refined beats that permeates proceedings on ‘Otra vez’. Caetano Veloso immediately springs to mind as a possible vocal influence and this is particularly the case on the lovely ‘Te quiero a ti’ with its sensitive vocals and on the minimalist love ballad ‘Hermosa’. One highlight is the gorgeous duet on ‘Sueno mi guitarra’ while ‘Tan cerca’ is a pared down ballad with guitar in background. In general the album is full of catchy, personal songs with melodic hooks and on the Eighteenth Strret Lounge label that the Thievery Corporation are associated with, this should prove to be a winner with several different audiences and bring together world roots and dance music fans.  Tim Stenhouse

Developed from the Liverpool 08 Capital Of Culture commission and with strong input from Jah Wobble’s wife Zi Lan Liao (Guzheng) and the Pagoda Chinese Youth Orchestra plus on ‘Dragon & Phoenix’ an appearance of Wobble’s sons. They were joined by visiting Chinese dancers and vocalists (the wonderful Gu Yinji and Wang Jinqi) plus Wobble’s regular touring band. I had the pleasure of seeing them at Womad and every part of this East/West union came together brilliantly in a way which was both inspiring and magical. Highly recommended.  Graham Radley

Senta Lain are a great band from Kenya who were formed by blind band leader Michel Ongaru 8 years ago. Michel is a multi-instrumentalist and plays harmonica, guitar, flute, drums, marimba and piano. Musically the band combine a wide range of influences and cultures which include Kenyan benga and soukous styles with gospel and Cuban Son. Very good.  Graham Radley

Cuban pianist and arranger Roberto Fonseca first came to prominence as arranger for the very last Ibrahim Ferrer album, but debuted as a leader internationally (a few previous Cuban only albums)with an outstanding release in 2007, ‘Zamazu’ that promised a great deal. He returns with a second album that confirms his compositional prowess and an offering that will surely end up as one of the year’s best. Following on in the piano lineage from both Chucho Valdes and the vastly underrated Emiliano Salvador in the 1970s and 1980s and from Gonzalo Rubalcaba in the 1990s and beyond, Roberto Fonseca is throughly grounded in equal measure in jazz and Cuban roots, and in some respects is a pianistic equivalent of trumpeter Jerry Gonzalez. This recording, like the previous effort, is light years away from the conventional Latin jazz album and several external influences are evident which range from the South African pianist Abdullah Ibrahim to African, European and Latin American folk music.

Surrounded by his trusted trio of Ramses Rodriguez on drums and Omar Gonzalez on double bass, Fonseca has augmented the format with percussionist Joel Hierrezuela while soprano saxophonist/clarinetist Javier Zalba participates once more. That Fonseca has listened widely is beyond doubt and is highlighted by the assimilated folk tunes on ‘Bulgarian’ where Fonseca’s Cuban piano vamps beautifully accompany Hierrezuela’s rootsy clarinet sound. Another tribute, ‘Lento y despacio’ this time to Latin America, is performed as a quartet outing and impresses as does ‘Lo que me hace vivir’(’What makes me live’)which emphasizses the cohesiveness of the quartet. Two trio performances reflect the sophistication of Fonseca’s compositions as on ‘Cuando uno crece’ and in his reflective tribute to French cinema on ‘Como en las peliculas’.
In a similar vein the gorgeous lullaby ‘Drum Negrita’ that features Fonseca and clarinetist Zalba in duet. Guest vocals come in the form of Cape Verdean singer Mayra Andrade who sings in Cape Verdean Portugese creole on ‘Siete Potencias’(Bu Kantu) devoted to the Orisha gods while Raul Midon is a revelation on the swing jazz song ‘Everyone deserves a chance’ on which he also manages a guitar solo. This writer would like to hear an entire album of Midon singing in a jazz context. Recorded in just four days in the legendary Egrem studios of Havana, the crystal clear sound and mastering captures every nuance of the instrumentation. This is a recording that reveals great subtlety from a musician who will surely play a major role in the jazz piano for many years to come.  Tim Stenhouse

Second International release from Israeli composer and keyboard player Idan Raichel further developing his range of influences so that Israeli/Middle Eastern fuses into a wider global soundscape. Sung in Hebrew, Arabic, Cape Verdean (Mayra Andrade is a songwriting collaborator) Creole, Spanish and Swahili you get a feel of the diversity with other collaborators including Marta Gomez, Somi, Zohar Fresco and Alon Nadel plus a 24 piece orchestra. Old meets new, ambient meets traditional, the result is captivating.  Graham Radley

Follow up to the excellent ‘Let’s Get Out Of This Country’ and once again working with producer Jari Haapalainen. This is Tracyanne Campbell coming up with some of her strongest songs to date, sometimes dark (Away With Murder) and often, like ‘Careless Love’, relationship based but always delivered in that special Camera Obscura way. I love it, this band so deserve to be huge.  Graham Radley

An uplifting festival mood permeates this 1962 live recording from the Juan-les-Pins festival, just along the coast from Nice and one in which the Latin tinge that Gillespie so revered is very much in evidence. From the crescending wave sounds of the intro, ‘No more blues’ was destined to be a classic and the rendition here is arguably the finest ever on record with Gillespie in fine form on trumpet and aided by a lovely piano solo from arranger Lalo Schifrin (who was the brainchild of the ‘Gillespiana’ suite from a couple of years earlier)and various Brazilian percussion. The extended ten minute plus version of ‘Long, long summer’ is played as a cha cha cha with Gillespie and fiery alto saxophonist Leo Wright alternating solos, and Schifrin providing Latin vamps to good effect. Of interest in the band line up is the addition of gipsy guitarist Elek Bacsik who, at this time, was accompanying a young Serge Gainsbourg on his early jazz-flavoured albums.
The seldom recorded ‘For the gypsies’ proves to be a revelation with a distinct modal feel and Wright providing a refined flute solo while ‘Here is it’ reveals the blues inflected side to the group’s sound. Mark this down as a the perfect accompaniment to those long, hot summer days and evenings that we are promised are on the way. Tim Stenhouse

A CD that came about after Richard Blair aka Sidestepper went to Colombia to meet up with Toto La Momposina, he was soon recording local Afro-Colombian artists which in turn developed into this pumping dance floor mix of Colombian, Nigerian and Jamaican styles. Great tracks with my pick probably the 12” mix of La Paloma. Brilliant Graham Radley

Their debut, also on the superb Navigator Records, quite rightly received rave reviews, this follow up fittingly sees the trio of Kris Drever, Martin Green and Aidan O’Rourke continue their adventurous approach to traditional folk music bringing to it the vibrancy of their brilliant live shows and a euphoria of song presentation that builds the passion with great musicianship and spirit, they were very good, they keep getting better.  Graham Radley

Now 70 and back with his first collection of new tracks since 2004’s To Tulsa and Back. Roll On has 12 tracks including the previously unreleased title track recorded with Eric Clapton. The style of course is the same & we wouldn’t want it any other way great music played and sung in that laid back style but with great integrity and style. Magic.  Graham Radley

This 1965 recording data is notable in in the long Jazz Messenger’s history for the pairing of two trumpeters who epitomised the band’s hard bop sound in the early-mid 1960s: Freddie Hubbard and Lee Morgan. It is, perhaps, no coincidence that in the same year the pair had recorded in a live setting together for Blue Note on ‘Live at the Cookers’ and their playing is inspired on the studio date contained herein. More surprising is the inclusion of tenorist Lucky Thompson who had played with Blakey in the 1940s. Pianist John Hicks and bassist Victor Sproles complete the line up which does not feature trombonist Curtis Fuller as on the previous ‘’S Make It’ and ‘Indestrutible’ albums from 1964. By far the most immediate track is ‘Buh’s Bossa’, a long time favourite on dancefloors of the jazzdance scene with Blakey providing his own take on the then Brazilian drum beat. A Hubbard composition, ‘The Hub’, is in the classic Messenger’s groove with both trumpeter’s excelling. Hard bop is to the fore on ‘Freedom monday’, an underrated Blakey composition while blues-inflected hues predominate on the title track. While not quite on a par with the fiery playing and universal excellence of the Blue Note albums of the period, ‘Soul Finger’ fills in a useful gap in the Messengers chronology. Moreover, it was the second album for the label after ‘’S Make it’ which included Morgan and Hicks and Sproles, but omitted Thompson in favour of Sun Ra saxophonist John Gilmore. It is a pity these two line ups did not record more frequently together for there was undoubted empathy between them as amply demonstrated here. Messengers devotees will want this album for a key transitional period in the group’s history. Tim Stenhouse

This is just the best, a classic band with 19 tracks spread over two CDs , this as the title suggests is the third part of a story covering 1970 to 1983. All I really need to say is this is the band that first brought us the talents that are Salif Keita, Mory kante, Sekou Kouyate, Lanfia Diabate and Makan Ganessy, listen to them here & revel in divine, pure music.  Graham Radley

A retrospective of his acoustic live shows taken from gigs over the past ten years. Listen to the beautiful kora playing of the late Kaouding Cissoko, or Koni featuring Ernest and then drift into Baaba’s divine vocals and find yourself in a very special place, he’s a genius and please can we have a new CD soon.  Graham Radley

Anyone who has witnessed Sonny Rollins in a live context will testify to his continued charisma and prowess and this collection of live perofrmances spanning almost thirty years is an excellent resume of an artist still in top form in the twilight period of his career. The variety of formats ranges from pared down trio to sextet including guitar, percussion and trombone. Rollins cut some of the definitive statements on the tenor saxophnoe during the mid-late 1950s, several of which were trio outings. A highlight of this set is 2007 concert at the Carnegie Hall on the Rodgers and Hammerstein old chestnut ‘Some enchanted evening’, most ably accompanied by the great Roy Haynes on drums and Christian McBride on bass. An entire concert of this line up would be a treat. Calypsos have long been a favourite of the Rollins repertoire and and integral part of his heritage and the self-penned ‘Nice lady is not dissimilar to the seminal ‘St. Thomas’ from his classic ‘Saxophone Colossus’ album in 1956. Latin tinges surface on performances of the sextet in Sweden from 1980, notably on ‘Blossom’. The historical context to the live recordings is provided by excellent sleeve notes from renowned jazz writer Gary Giddens. An excellent place for Rollins neophytes to start discovering the immense legacy the tenorist has left on record and on this evidence he has still has more to give to the ever appreciative jazz public. Tim Stenhouse

Brilliant release (first in 6 years although 1996 was her last full international release ) for the Malian star, this really is a superb collection of 11 tracks which leave you wanting more and more. A more mature, harder edge, than previous releases, with a positive flow to the groove and a respect for the tradition which reflects a woman happy in her skin and riding the crest of a musical wave. Superb.  Graham Radley

Originally from the island of La Reunion but now based in France, Davy’s music is sourced from the Reunionais folk dance ‘Maloya’ which is an amalgm of African slave chants and rhythms plus contemporary European instruments. The special ingredient though is Davy’s beautiful voice which glides across the music like a scrumptious coating, pure sweet and expressive. Good stuff.  Graham Radley

First solo CD from cameroon’s rising star who is part of the Bassa ethnic group (originally nomads from Egypt). He grew up surrounded by music, not only Bassa musical traditions but his familys collection of music from Western soul greats like Marvin Gaye. He then moved to Paris in 2005 where he worked with many top African musicians like Manu Dibango. Those influences now unite on ‘Leman’ with the soulfulness of Gaye enriching his African traditional heritage. Great debut.  Graham Radley

Third in Strut’s ‘Inspiration Information’ series, this one teams Ethiopian veteran jazzer Mulatu Astatke (star of Ethiopiques series) with UK funky jazzers Heliocentrics. Got a nice feel this one with the Ethiopian jazz groove being embellished by Heliocentrics as it flows along sometimes going off at heavier tangents then others hitting the chilled feel of ‘Blue Nile’ . My pick is the funky percussion driven ‘Live From Tigre Lounge’ . Excellent.  Graham Radley

A album of beautiful Tibetan mountain songs composed by Soname and which reflect the country and culture she had to escape some years ago. This amazing story is told in her book ‘Child of Tibet’, a journey that took her from Tibet to London via India. There’s a strong array of Indian musicians on the CD providing a lovely foil fopr Soname’s captivating voice.  Graham Radley

Follow up to the brilliant debut ‘Bari’ and superb second release ‘Techari’ this new release delivers more of that eclectic and vibrant mix. Expect tango, salsa, tabla, scratching, bolero and more all fired up with the passion and spirit which is Ojos de Brujo. Irresistable.  Graham Radley

There’s a couple of Bollywood tracks with A.R Rahman & Chinmayee and ‘Tere Bina’ from ‘Guru’ plus Rajeshwari Sachev’s ‘Maavan Te Tiyan’ together with Indian classical artists of renown Satish Vyas, Bombay Jayashri and Deepak Ram. A more contemporary approach from Kiran Ahluwalia, Niraj Chag, Sanjav Divecha and Susheela Raman through to the spiritual music of Uma Mohan. Good mixture.  Graham Radley