By Maxazine South Africa 
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why we post an overview of albums that arrive at the editors in short reviews today.
Photo (c) Jorge Fakhouri Filho
Jared Hall – Hometown
Of course, every self-respecting jazz trumpeter measures themselves against Miles. There is probably also no trumpeter in this genre who has not been influenced by the legend. Jared Hall also writes that Davis has been a source of inspiration. Such must also be evident from the eight pieces that are on the new album “Hometown”. Technically, it passes every test. Hall’s playing is controlled and well cared for, with a beautiful full tone that he also knows how to maintain in faster, more virtuosic passages. Unfortunately, that is virtually all that can be said. Because Hall does not surprise anywhere. Compositions, arrangements and playing are solid, although safe is more appropriate here as a term. Many listeners will therefore experience this as an enjoyable record. No single piece imposes itself and demands all attention. The only piece that stands out is “Little B’s Poem”, and that is mainly thanks to the bass part, including the upright solo, by Michael Glynn. In his biography, Hall praises expression in the playing of his heroes and the desire to constantly innovate, precisely what is missing on this “Hometown”. The result is a record where you can calmly do the washing up. It does not disturb at all. (Jeroen Mulder) (5/10) (Jared Hall)
Sweet – Reincarnation
A pleasant surprise I have with this ‘new’ Sweet or The Sweet, the same band, known for the glam rock hits “Fox On The Run” and “Ballroom Blitz”. “Reincarnation” consists of recordings that have remained on the shelf since the mid 1980s. Normally, I do not give full line-ups of bands in short reviews, but in this case, it is still relevant. Here they are, then. Andy Scott, guitar and vocals, and together with drummer and singer Mick Tucker original members of the classic 1970s line-up. Then we have Mal McNulty on vocals and bass, who later became the lead singer. The most important musicians on “Reincarnation” are keyboard player Phil Lanzon, later known from Uriah Heep, and the main composer of the songs on this album. Last but not least, singer Paul Mario Day, the very first singer of a band that most readers will know, Iron Maiden. Although he did not record official albums with them, he was the frontman in the period 1975/1976 until he was eventually replaced by Dennis Wilcock due to a lack of stage presence. It certainly was not his fantastic voice. Later, he made a name for himself with other bands, of which More, which he formed after leaving Iron Maiden, was the best known. In the period 1985/1988, he was part of Sweet. He is heard on the live album “Live at the Marquee” (1986). In 1986, he emigrated to Australia. There, he remains active in the music scene. On 29 July 2025, he died from the effects of cancer. This album marks the transitional phase of Sweet in which the band moved away from pure glam rock and more towards melodic AOR and 1980s hard rock. The first and last tracks are a version of the Four Tops classic “I’ll Be There”. Essential purchase for lovers of high-quality AOR and hard rock. (Ad Keepers) (9/10) (Metalville)
Ben Markley Big Band – Tuesday Morning Feeling
Eleven pieces with a total playing time of no less than 78 minutes. Pianist, composer and arranger Ben Markley delivers with “Tuesday Morning Feeling” an impressive big band album in all respects, which can be measured without difficulty against the great classics within the genre. “The Atomic Mr. Basie” by Count Basie from 1958 still counts among purists as the ultimate big band album: tight, swinging and perfectly balanced. “Ellington at Newport” by Duke Ellington follows as a good second, especially because of the space Ellington gives to individual solos. Markley manages to unite these two worlds. He does this partly with new interpretations of existing compositions by, among others, Thelonious Monk, but also with seven of his own pieces. In his arrangements, he emphasises the rhythm section and brass, thereby clearly linking to the big band tradition. We hear the swing and precision of Basie, combined with Ellington’s sense of dynamics, in which solos are given all space and at the same time, are carried by the orchestra. A fine example is the solos of vibraphonist Steve Nelson and tenor saxophonist Peter Sommer in Monk’s “Off Minor”. They add a new layer, a colour of their own within a rich palette, and remain fully woven into the whole of the band. The highlight still has to come: the trumpet solo by Terell Stafford in “Old Folks”. Without exaggeration, one of the most beautiful solos ever within a big band arrangement. The piece lasts more than eight minutes, but could easily have gone on twice as long. (Jeroen Mulder) (8/10) (OA2 Records)
Against The Grave – Deathproof 101
Against The Grave is a groove metal band from Los Angeles and released its debut album “Deathproof 101”. When you listen to this album, you would not say you are listening to a relatively inexperienced band. Against The Grave and the songs on “Deathproof 101” sound very mature. The sound of this self-released album is also far from amateurish. The songs hit out strongly, and for extra punch, Ulrich Wild, who has worked among others with Pantera and Deftones, is responsible. There are seven songs on “Deathproof 101”, of which the last two are covers. “Wrong” by Depeche Mode and “Civil War” by Guns N’ Roses are successfully turned into a metal jacket by Against The Grave. Best song is opener “Deathproof”. If you like modern groove metal with influences from hard rock and thrash, Against The Grave is a band to keep an eye on, and this debut album is a purchase you will not regret. (Ad Keepers) (8/10) (Eigen productie)
Jessie Ware – Superbloom
With her latest release, “Superbloom”, Jessie Ware proves once again that she is the undisputed queen of modern disco and refined pop. The album builds on the foundation of her previous successes, but adds an organic and floral texture. The songs flow seamlessly into each other and create an atmosphere that feels both nostalgic and forward-looking. In tracks such as the title track “Superbloom” we hear an artist who is fully in her strength and who takes no satisfaction with anything less than perfection in production. The vocals are as crystal clear as usual and carry the melodies with apparent ease. The album succeeds in taking the listener into a world full of glitter and emotional depth without ever feeling forced. It is a collection of songs that works equally well on the dance floor and in a calm setting. With “Superbloom” she strengthens her position in the current musical landscape and shows that quality always comes to the surface. An absolute recommendation for those who love high-quality pop music with a soul. (William Brown) (9/10) (EMI Records)
Jan Vranken