Last updated: Monday 13th May


“J Jazz Volume 2 – Deep Modern Jazz From Japan 1969–1983”

Volume 2 of this series from the BBE label, following the very well-received initial volume.

“J Jazz 2” builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and
beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic
funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and
Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). “J Jazz 2” delivers more
astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the
current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on “J Jazz 2” span across 25 years of Japanese musical progression and invention.


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Lou Donaldson – “Alligator Bogaloo”

Lou’s 1967 album for Blue Note and one of his funkiest sets as well as his best-selling.

Features a young George Benson on guitar, Lonnie Smith on organ, Melvin Lastie on cornet and Leo Morris (AKA Idris Muhammad) on drums.


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Ella Fitzgerald – “Sings The Cole Porter Song Book”

The first ever release on the Verve label, from back in 1956 and the first of Ella’s eight albums exploring a different composer from “The Great American Songbook”.

One of the great vocal jazz albums and a shoo-in for the ‘greatest albums ever made’ list.

In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.



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Charles Mingus – “The Black Saint And The Sinner Lady”

Originally released on Impulse! Records in 1963, this classic album consists of a single continuous composition partially written as a ballet, divided into four tracks and six movements.

One of 2 Mingus albums (along with “Mingus Ah Um”) that frequently appears on “Greatest Ever Albums” lists.


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JJ Whitefield – “Brother All Alone”

German guitarist, bandleader and producer JJ Whitefield with his 3rd solo album (but first under this moniker). JJ is known for his work in Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns and has released albums on Ninja Tune, Mo’Wax, Daptone, Strut, Stones Throw and Now-Again. Recorded in Berlin, Munich and Nairobi with some of the most interesting heads of the German Neo-Jazz-Kraut scene and mixed by Malcolm Catto of The Heliocentrics.


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Miles Davis – “Rubberband”

In 1985, Miles Davis left the Columbia label after 30 years to join Warner Bros. In October of that year, he began recording the album Rubberband” in Los Angeles at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Davis went on to record “Tutu”, leaving the “Rubberband” songs unheard and untouched for over 30 years. Now the album has been finished by the original producers Hall and Giles; with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86. The final version includes several guest artists including singers Ledisi (a 12-time Grammy nominee) and Lalah Hathaway (daughter of soul legend Donny Hathaway).


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Sarathy Korwar – “More Arriving”

New album from the U.S.-born, India-raised, U.K.-residing jazz vocalist.
Korwar’s debut “Day To Day”, combined the folk rhythms of India’s Sidi community with contemporary electronics and jazz textures, earning praise from the likes of Four Tet, Gilles Peterson and Floating Points. In 2018, he followed up with the live album in collaboration with Upaj Collective, “My East Is Your West”, a critically-acclaimed take on the cultural appropriation of ‘spiritual’ Indo-jazz. This 2nd solo album was recorded over two and a half years in India and the UK, drawing on the nascent rap scenes of Mumbai and New Delhi, incorporating spoken word and Korwar’s own Indian classical and jazz instrumentation.


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Archie Shepp – “Attica Blues”

Official Mr Bongo re-issue of a previously Japan-only 7” featuring two tracks originally released on Shepp’s 1972 classic soul-jazz LP, ‘Attica Blues’. A powerful mix of psychedelic soul & jazz that retains Shepp’s political sentiment of his earlier works.


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Alfa Mist – “Structuralism”

2nd album from the East London jazz artist, following the excellent “Antiphon”. Named after the theoretical breakdown of the basic elements of conscious experience and based around a conversation between Mist and his sister, discussing themes of debate culture and personal growth and is an intricate and profound glimpse into the East London artist’s battles with self and the societal pressures that inform our own conscious experience.


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Nérija – “Blume”

The debut album from jazz septet Nérija comprising of  Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass). Recorded in the boat-shaped confines of London’s legendary Soup Studios and produced by Kwes, the overarching goal with Blume was to simply capture the rawness, warmth, joy and the spirit of their relationship and performance. One of the recording aims was to channel the feel of Teo Macero and Stanley Tonkel’s records with Miles Davis during his Columbia years, thinking “forward” as they did but for this band, capturing the controlled chaos and frame it with a timeless elegance.


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