Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.
Review: Alogte Oho & His Sounds of Joy's debut album Mam Yinne Wa was a real triumph. A sensuous fusion of international rhythms, gospel vocals and jubilant vibes that was an instant hit with lovers of world music. His new single is said to be a teaser for a seance upcoming album and is another masterpiece from Frafra Gospe, a legend of this genre. First up is 'Doose Mam,' a repetitive rhythm that goes right for the hips. The big horns bring the character and sensuous vocals are the icing on the cake. On the flip is 'Gure Yose Me,' a tune rooted in reggae rhythms thanks to the work of Josie Coppola, Europe's No.1 reggae drummer.
Review: Benin funk supergroup Orchestre Poly-Rythmo de Cotonou have an essential discography that takes in some of the most definitive afro-funk sounds you can hear. The Acid Jazz label serves up a couple of such betters here with 'Kpede Do Gbe Houenou' layering up the driving grooves, killer horns and wild keys into something intoxicating. Less intense but just as good, 'Ma Wa Mon Nou Mi O' brings the guitar work to the fore, with plucked and funky riffs underneath the imploring vocal work that's up top. Both tunes have been restored and remastered.
Review: Acid Jazz Records' has got a licensing agreement with legendary Benin label Albarika Store that is seeing them put out some of the best music to have ever come from West Africa. Benin's almighty Orchestre Poly-Rythmo de Cotonou Dahomey made plenty of it. This latest 45 is another stunner with plenty of raw screams, wails and grunts all adding extra life and vitality to the already trilling guitars and bustling drum rhythms. Add in heavy percussion and you have a real heavy Afro psych-funk tune. The flip is more deep and soulful, and just as good for different reasons.
Review: Following persistent requests, Mr Bongo has finally relented and dedicated an edition of their popular Brazil 45s series to Orlandivo Honorio de Souza, a composer, singer and percussionist whose 1977 album Oelandivo remains high on my collectors' wants-lists. Wisely, their A-side pick is 'Onde Anda O Meu Amore', a cosmic and spacey fusion of samba-soul and jazz-funk rich in ethereal flute lines and intergalactic keys. This time round it comes backed by the equally as impressive 'Gueri Gueri', an insatiable samba-rock number wrapped in heady accordion, jangly acoustic guitar and punchy horn sounds.
Review: Mr Bongo's crucial Brazil series hits a 94th volume here with vocal and instrumental group Os Carbonos from Sao Paulo. The band had a long and fruitful career that started in the 60s and ran on into the 80s. This offering is a tune from later on in their time and it is a prime slice of Brazilian boogie with funk drums, vamping chords and hip swinging claps all designed to bring the good ties and the sunny vibes. The bass-driven a-side is the one, but the flip from Sandra Sa is a special kind of sentimental soul sound.
Review: For the latest edition in the label's superb Brazil 45s series, the Mr Bongo crew has decided to reissue one of their all-time favourite tracks, Os Devaneios' 'Embala Differente'. Situated here on side B, the track is one of the funkiest and heaviest samba floor-fillers going - a 1978 workout that adds punchy horns, disco-boogie bass, strong male lead vocals and mazy organ solos to an infectious and percussively dense rhythm track. A-side 'A Beleza E Voce Menina', a slightly later recording, is equally as impressive, with the obscure Brazilian band adding elements of soul, South American boogie and AOR to their funky-as-hell samba template. Another essential instalment in one of the most on-point reissue series around.
Review: Samba flavours do not come more authentic than this. The sixth in Mr Bongo's Brazil 45 series, here they unearth two foundation pieces from Rio collective Os Origianais Do Samba. Forming in 60s Rio, they're still highly active today and have a discography peppered with Brazilian gold. This 45 does well to showcase their breadth... "La Vem Salgueiro" is quintessential samba. Heavy rhythm, punctuated vocals and a dynamic that leaps from bold and delicate in a flash, it charms you instantly. "Tenha Fe" has a softer soul as it strums and sways and more of a folky sensation, tight harmonies and alluring naked instrumentation.
Review: It was the iconic Copacabana Records that put out this classic MPB back in 1964. That makes 'Um Balanco pra voce' by Os Rouxinois one of the oldest releases in Mr Bongo's Brazil45 series and it is also one of the best. Arnaud Rodrigues wrote the tune which is a superb mix of exotic funk, bossa nova rhythms and quirky melodies from a five-track 7" of tunes that the band originally used to play on TV. On the other side, 'O Viajante' is the sort of irresistibly sunny sound that quickly wins your heart and is sure to light up any dancefloor.
Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.
Review: 'Independance Cha Cha' was something of a historic anthem that immortalised Congo's independence and marked the debut release from a Congolese-owned record label, Surboum African Jazz, under the guidance of Joseph Kabasele. This pioneering move sparked a wave of new record labels in 1960s Kinshasa, led by the era's many musical luminaries. Planet Ilunga's Les editeurs Congolais series pays homage to these trailblazing label owners, starting with this, Les Editions Populaires, founded by Franco Luambo Makiadi in 1968. This compilation of 16 tracks from its early years showcases Franco's vision, spanning rumba, Lingala ballads, Kikongo traditionals, and even Yoruba influences, alongside American funk pastiches.
Review: Following 2012's fourth volume that celebrated the existential work of Tim Maia, here we find Luaka Bop exploring the legacy of William Onyeabor. A high chief and Kenyan diplomat who allegedly refuses to discuss his music, he self-released eight albums in the 70s and 80s and these are some of the many highlights. Stretching from the New York-influenced post-punk synth funk of "Good Name" to the most authentic Afro fusion of "Why Go To War", Onyeabor's range not only reflects his clear creative skill, but also the ever-developing international language of music during the fruitful period he was active. Who is William Onyeabor? Press play and find out yourselves...
Review: A lesson in how to follow up an incredible album: Tomorrow followed Onyeabor's incendiary Atomic Bomb immaculately. The title track instantly set the scene with more emphasis on electronic elements and studio techniques as William sermonises without pomp. "Why Go To War" is as insistent as its message thanks to a dense lolloping groove of highlife guitars and spiralling keys. "Fantastic Man", meanwhile, takes a leaf out of Parliament's playbook, rolls it up and smokes its own and "Try & Try" closes the show with country subtlety thanks to its slide guitars and blushing keys.
Review: Originally released in 1980 on the Alberika label, Orchestre Les Volcans du Benin Vol. 1 has long been a 'holy grail' LP for Afro-Cuban aficionados. It now sees it's first official reissue on Acid Jazz Records, with four infectious tracks across the two sides, including Oya Ka Jojo - latin dancefloor dynamite and a DJ must-have. Remastered by Nick Robbins at Sound Mastering and presented in a wonderful colour sleeve, it's an opportunity to finally own this special and highly sought after LP.
Review: Acid Jazz has got an ongoing deal to issue and reissue music from Benin funk supergroup Orchestre Poly-Rythmo de Cotonou and the latest fruits of that is this reissue of their Le Sato album. It is a follow-up to the one they dropped back in 2021 and is another section of traditional voodoo ceremonial music from the group from the mid-seventies. The name of the album is taken from the large ceremonial Sato drum, which is played with wooden stick beaters at special ceremonial occasions. Here it can be heard in all its glory making traditional rhythms and deeply ritualistic grooves that will leave you in a trance.
Review: Caracoles propels Orquesta Akokan's GRAMMY-nominated mambo into the contemporary era here with sounds infused with akokan-a Cuban Yoruba term for heartfelt expression. Led by producer Jacob Plasse and pianist Michael Eckroth, the album is their third and it delves deep into mambo's rich tapestry. Collaborating with Cuban artist Kiko Ruiz, who is known for his work with Buena Vista Social Club, the album intertwines everyday Cuban narratives with Palo Mayombe spirituality that adds layers of depth. Rooted in the traditions of Benny More and Perez Prado, Caracoles revives mambo's essence as both celebration and prayer here while invoking spiritual resonance through impassioned grooves.
Review: The unearthing of Orquesta La Solvencia's sole album epitomises El Palmas label's mission to preserve Venezuela's salsa heritage by reviving the bold, authentic music that laid the foundations of the genre. Originally released by Corpodisco in 1980, this record featured guaguanco, guaracha, son, and merengue, pre-dating the definitive salsa label. According to Felipe Diaz, La Solvencia's lead singer, numerous orchestras of this kind thrived in Venezuela to entertain communities during patron saint festivities. La Solvencia's irresistible grooves, coupled with lyrics portraying everyday life, endeared them to the Venezuelan salsa aficionados, and us.
La Confianza, Pongan Atencion, La Mulata Encarnacion (3:38)
Cuba Y Africa Son (3:04)
Con El Ritmo Del Tambo (4:29)
Review: This second instalment of Jazz Room's Pure Latin re-releases comes in the form of Orquesta Mayombe's masterpiece, Con Ritmo Del Tambo. First emerging in 1980 and now considered to be a classic example of Nu Yorican El Barrio sound, this is an essential record for fans of Tata Vasquez. Featuring Afro-Cubano jazz heavyweights including Chocolate Armenteros, Jose Mangual, Mauricio Smith, and Orestes Vilato, as well as an astounding seven-person percussion section, it's safe to say this release packs a punch. Travelling through ten dazzling, floor-filling cuts of Afro-Cuban via New York Jazz age tracks, this is a must-have for fans of Latin jazz.
Review: This collaboration album La Comitiva on Bubbles marks a unique partnership between Erlend Oye and the Italian band La Comitiva. Blending indie pop, folk, and electronic elements, it delivers a fresh and innovative sound and new take on pop. Erlend Oye's soulful vocals and reflective lyrics are enriched by La Comitiva's rich instrumentation to create an immersive journey through diverse musical influences and inspirations. From the catchy rhythms of 'Garota' to the dreamy ambiance of 'Fence Me In,' each track offers distinct melodies and storytelling that stay with you. There are emotive vocals and dynamic instrumentation throughout as well as some genre-defying sounds all of which will captivate fans old and new.
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