By 1979, Kai Winding had long since secured his place in modern jazz history. From the urbane, high-polish exchanges with J.J. Johnson in the 1950s to the more commercially inclined ventures of the ...

The debut release from Andrew MacKelvie’s Many Worlds ensemble appropriately finds its home on the Canadian label, Watch That Ends The Night Records. Themselves a comparatively young label, Watch That ...

Taupe have always thrived on volatility, but waxing | waning feels less like a collection of compositions, and more like a live wire dropped into a steelworks. The Glasgow trio return on Minority ...

Trumpeter and composer Jeremy Pelt successfully delivers one of the most purposeful statements of his career so far on his latest release “Our Community Will Not Be Erased”. This is an album that ...

Like a brass-and-cog contraption humming to life in some subterranean Victorian workshop, “Biotic” arrives with a curious tension: organic pulse encased in angular machinery. On his third outing as a ...

On “Patternmaster”, tenor saxophonist Mark Turner delivers one of the most compelling statements of his ECM years – an album of bracing intelligence, spiritual inquiry and deeply internalised swing.

Longineau Parsons’ little-known record receives a much-welcome reissue via the California-based specialist label Luv N’Haight ...

By 1973, Tim Maia didn’t need to prove he could make hits. His previous self-titled album had already cracked the Brazilian ...

There is something profoundly moving about hearing lost music return to the light. “Quintessence”, the newly issued ...

With “ReSet”, guitarist David Chevallier once again confirms his status as one of the most original and quietly adventurous ...

In 1971, while electric jazz was reshaping the landscape in New York and London, a quietly daring chapter was unfolding in ...

There’s a quiet yet striking authority to “Freedom of Art”, the second outing from Washington D.C. bassist and composer ...