Review: Floating Points reissued the 1976 debut album Open Soul from Chicagoan soul/jazz-funk fusionists six-member outfit Tomorrow's People on his Melodies International imprint. Now P-Vine serve up a couple of singles from it, one of which has had a T Groove edit. Spanning a wide range of soul and jazz-funk styles, 'Open Soul' has a rubbery bassline and sock chord work with some big vocals and smooth grooves. It is an epic trip into space-soul territory. On the flip is 'It Ain't Fair', a much more slow and sentimental cut with romantic vocals and yearning chords.
Review: Disco creator T-Groove has received high praise on both the domestic Japanese and international scene. What better motive, then, to trade on his newly gilded name than to pair up with street drummer George Kano for a transformative set of grooves, in the form of 'Let Me Ride', 'Midnight Lady' and ensuing tracks? That's just what T-Groove has done on his latest record here for P-Vine, incorporating a fusion-like style exquisitely crossing between jazz, rock, Latin and quiet storm. A testament to the chemistry shared between T-Groove and Kano - drummer-and-producer-dyad extraordinaires - this is a well-cooked slice of late night urban fusion and groove.
Review: The Three of Us is a name you might not know even if you are something of a jazz lover. It was the name that jazz keyboardist Hilton Felton - who will be much more well known to those with an ear for rare groove - used for this one groovy soul-jazz album. It arrived in super limited quantities back in 1971 and is now hugely sought after and therefore also rather expensive on the second-hand market. Joining Felton for these sessions were bassist Joe Harris and stickman Johnathan Setell, but it is Hilton's touch that really elevates the music - his free melodies and deep grooves really make their mark. This one has never been reissued before.
Review: For the first time on vinyl, P-Vine reissue one of the earliest works by Yellow Magic Orchestra founder and later film composer Ryuichi Sakamoto. Before the fame and notoriety, Sakamoto lent a hand to the avant-garde singer Taeko Tomioka, whose 1976 album he produced, both in the box and out. Tomioka only recorded the one album, and later went on to develop a career as a poet, novelist and literary critic. Few self-proclaimed Sakamoto heads know this, which is what makes this P-Vine reissue so special. Were it not for Sakamoto's touch, Tomioka's animalistic performances would likely not have taken on their extensible quality; Sakamoto's virtuosity was more than enough to rigorously challenge Tomioka, producing less of a debutant's declamation than a mixolydian nightwalk, bringing out the potent harmonic range of whatever the musical equivalent of a tightrope walker is.
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