Outhouse - Free your mind

Outhouse makes its eponymous debut next month with the Anglo-French quartet joined by singer Jeanne Added and tama drummer Kaw Secka. The group grew out of Loop collective sessions in Kentish Town influenced partly by its empathy with the Parisian Hask collective scene and the burgeoning confidence of the new wave of post-Polar Bear London bands pouring out of the London music colleges.

Chick Corea and Gary Burton - The Sound of Silence

More than 35 years have passed since Chick Corea and Gary Burton came together to record the classic album Crystal Silence. The two have now recorded once again, this time for Concord to produce a two-CD set with a big difference as the first disc of The New Crystal Silence finds Corea and Burton performing with a symphony orchestra using new arrangements by saxophonist Tim Garland.

The Neil Cowley Trio - Loud And Proud

The Neil Cowley Trio shook up jazz fans two years ago with debut album Displaced, which was a bolt from the blue at the time. Neil Cowley, Richard Sadler and Evan Jenkins grabbed the jazz trio format by the scruff of its neck while not forgetting the elements that made it great in the first place. Cowley, best known for his work with key jazz funk and chill out bands, had come up with a post-EST concept that was distinctly fresh and rooted in his jazz influences, including the music of Keith Jarrett. 

Barak Schmool - Fanning The Flame

Barak Schmool is the relatively unsung organiser and ideas man behind the F-IRE Collective, the coalition of like-minded groups and musicians who have organised themselves into a musical force to reckon with. The saxophonist and percussionist continued his work very recently with a performance at the F-IRE festival in London. As two of his bands are set to release new albums, one brand new and the other a reissue, Barak explains his thinking to Daniel Spicer.

Horace Silver - Finger Poppin’

Pianist Horace Silver is one of the most influential pianists in jazz and the very personification and creator of what has been called soul jazz, composing what are now standards such as ‘Sister Sadie’ and ‘Señor Blues’ and piloting a distinctive direction the Blue Note records sound would take. Initially making an impact with Art Blakey, who “borrowed” the name of Silver’s group to form The Jazz Messengers, Silver went on produce a series of classic albums for Blue Note in the 1960s, including the timeless Song For My Father with the infectious bossa style of its much sampled title track and Silver’s own inimitable sense of the Cape Verdean blues. Keith Shadwick surveys the great man’s 1950s/60s heyday, as a previously unissued 50-year-old Silver live album is released for the first time.


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