Less a homage than an interpretation, less a rereading than a resurrection, Deadjazz gives new life to the music of the Grateful Dead, the legendary group of the psychedelic era. Drawing inspiration from a cult repertoire, played by musicians who have had an unwavering bond with the Belmondo brothers for decades, this collective project is an immersion in a crucial moment in the history of music: when jazz became electric to the rhythms of rock and rock freed itself from the constraints of the song format through improvisation.

This single CD gives one a definitive look at Miles Davis' live show from his last three years. Using funky but unpredictable rhythm sections and leaving space for plenty of solos, Davis created a unique brand of fusion that has yet to be satisfactorily duplicated. Among his more notable sidemen during this era are altoist Kenny Garrett, Foley on lead bass (which he used as a lower-toned guitar), one or two keyboardists chosen from Joey DeFrancesco, Adam Holzman, Robert Irving III, Kei Akagi, and John Beasley, various bassists, drummers, and percussionists, and on "Amandla," the tenor of Rick Margitza. Davis is in consistently strong form throughout the numbers, which include "In a Silent Way," "New Blues," "Human Nature," "Tutu," and "Time After Time." Quite often the live versions of these songs are more creative and exciting than the ones previously issued.

Following their debut release 2021’s ‘Fragments’, the trio of bassist extraordinaire Nick Beggs (Kajagoogoo / Steven Wilson), gifted jazz keyboardist Adam Holzman (Grover Washington / Steven Wilson) & rhythmic powerhouse Craig Blundell, return to deliver their signature brand of instrumental Prog come Funk or Prunk / Frog if you were to be so bold. Aside from being immensely talented performers, the three have all at one point performed together as part of Steven Wilson’s band & all three appear on Wilson’s new album ‘The Harmony Codex’.

For more than three decades saxophonist Kenny Garrett has been on the forefront of the most adventurous and creative collaborations in jazz, having performed with generations of innovators such as Miles Davis, Art Blakey, Freddie Hubbard and more. The living legend charts yet another path in his illustrious career with the release of his first ever electronic album, an avenue to explore new sounds.

Patti Austin, a gifted singer when she gets good material, works in murky waters on this '91 release. There are so many different things offered, from fusion and pop to more mainstream jazz and soul, that the album has no main course or personality. On the other hand, Austin does sing everything well, and GRP has enlisted enough of their session pros to ensure that the musical support is excellent. It's well-played, superbly sung filler.

Eastwood Symphonic is a tribute from Kyle Eastwood to his father Clint Eastwood. It takes the form of a contemporary musical walk into the heart of the legendary actor-director's extraordinary career. As a young man, Kyle Eastwood appeared in a few films made by his father, but what has united them above all else is their mutual passion for music. It is precisely that passion, so dear to Clint and such an everyday part of Kyle's life today, which has bound their relationship so closely over the years. As bassist and frontman of a sparkling jazz quintet, he has already released one album, 2009's Cinematic, that takes up themes written for the silver screen. For Eastwood Symphonic, which fully embraces some of the music that has figured so prominently in his father's films, Kyle has chosen to have his quintet join by the Czech National Symphony Orchestra (CNSO) led by Grammy Award-winning conductor, Gast Waltzing. This family collaboration is a unique album that comes alongside a film produced by Arte.

Renowned drummer/percussionist Chester Thompson (Genesis / Weather Report etc) presents an album of sizzling Fusion and Jazz Funk highlighting his peerless ability and compositional ambition.

One of Finland's most successful jazz composer/producers Valtteri Laurell Pöyhönen (of Dalindeo and Ricky-Tick Big Band fame) teams up with Mopo drummer Eeti Nieminen for a disc full of chillout jams.

The 1978 recording debut from reformed avant-garde composer and eventual ambient forerunner Harold Budd consists of four chamber works (written between 1972 and 1975) that use varying combinations of harp, mallet instruments, piano, saxophone, and female or male vocals. Two years before his fateful first studio collaboration with Brian Eno (who produced this album), Budd was creating hypnotic music in an acoustic mode. All of the works herein–including "Two Rooms," whose latter half is an adaptation of John Coltrane's "After the Rain"–sustain a similarly dreamy vibe. An important credo for Budd was to make music as pretty as possible as an antidote to the noisy avant-garde he had escaped from. One cannot fault him for the lovely sounds he creates here, although fans familiar with his more cinematic works might be caught off-guard. Regardless, the pleasant Pavilion of Dreams provides insight into Budd's past, and it offers the same somniferous effect as a gentle lullaby, making it perfect for late-evening listening.

It has been a very creative couple of years for percussionist, composer, producer, and storyteller Barrett Martin. In 2017 he won a Latin Grammy for his album production work in Brazil; he released his first book, “The Singing Earth: Adventures From A World Of Music”, and he released his 6th solo album, “Transcendence.”

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second – and, no thanks to internal feuding, last – studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading – with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass – can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called "Sapphire Bullets of Pure Love." Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to "Open Country Joy," a relaxed, jocular bit of communal jamming that they ought to have pursued further.

Brand new live record from guitar master Oz Noy with the amazing Dennis Chambers (Carlos Santana, John McLaughlin) on drums and Jimmy Haslip (Yellowjackets) on bass. Recorded live at The Stages Music Arts in Maryland on December 29, 30, 2022.

Soul Jazz Records’ new album ‘Kaleidoscope – New Spirits Known and Unknown’ brings together many of the ground-breaking artists involved in the new jazz scene that has developed in the UK over the last few years. Featured artists include Matthew Halsall, Yazmin Lacey, Ill Considered, Tenderlonious, Theon Cross, Emma-Jean Thackray and many, many more in this ground-breaking release.

Strandberg Project is a band led by bass player Jan-Olof Strandberg and was formed in 1995. The band has invited guests from all over the world to perform and record new music together with fresh ideas. The style might vary from Progressive Rock to World Music to Funk or Jazz… Depending on the artist and the mode of the music. But the basic idea is to create something new and fresh without limitations. Progressive Construction is the latest release of Strandberg Project (2018) and features Jan-Olof Strandberg, Sami Virtanen, Jukka Gustavson, Jartsa Karvonen, William Suvanne, Felix Zenger, Tatu Turpeinen & Perttu Siren.

Having already spent twenty years on the cutting edge of modern rock percussion, Bill Bruford (ex-King Crimson, Yes, UK a.m.m.) formed Earthworks in 1986, as a deliberate return to his roots in jazz. Availing himself of the brightest young talent on the burgeoning U.K. jazz scene, namely keyboardist and tenor horn player Django Bates, and saxophonist Iain Ballamy, both best known as frontrunners with the anarchic big band Loose Tubes, Bruford encouraged the use of rock technology with jazz sensibility - the hallmark of Earthwork's stylish approach. By letting in air and light, and adding a little wit and wisdom, they produced a particularly British antidote to the increasingly grotesque jazz fusion scene. The first LP for Editions EG, Earthworks, was a testament to their achievement.It sounds simple, but the band only found it's direction through serious live playing. No theoretical studio concoction here. Japan, Europe and the UK were all visited before the release of the first album.