Jazz Carnival (Space Jazz mix - Global Communication remix) (2:00)
Jazz Carnival (LP mix)
Review: We hear on the grapevine that there could be some seriously desirable Global Communication vinyl reissues on the way in 2020. To tide us over until then, Far Out has decided to reissue one of the legendary West Country duo's most celebrated and sought-after remixes: their 1996 "Space Jazz" remix of Azymuth classic "Jazz Carnival". Pritchard and Middleton's version is a spacey deep house epic of intergalactic proportions, with subtle elements of the Brazilian band's loose and languid '90s re-recording of the track (the B-side "LP Mix") weaving in and out of a warm, rich and hypnotic groove. It's one of the most dancefloor-friendly of all Global Communication remixes - many were straight ambient or downtempo rubs - but also one of Mark Pritchard and Tom Middleton's finest.
Review: Previously, French producer Gary Gritness has carved a niche as a creator of hard-wired revivalist electro and boogie, delivering slightly more eclectic - but wholeheartedly electronic - albums for Hypercolour and others. His latest project is a little different. It sees him join forces with two musician friends to deliver an album of radical new (mostly electronic) interpretations of Don Cherry's jazz-fusion works. All seven tracks were recorded live in the studio using a mixture of dusty drum machines, synthesizers, percussion, acoustic instrumentation (Spanish guitar, saxophone) and the musicians' own voices. The results are superb, delivering intergalactic and often wonderfully out-there covers of Cherry compositions that sound like they were beamed down from some far-off tech-jazz galaxy.
The Flying Stars Of Brooklyn NY - "Live On" (4:10)
Saullt - "Masterpiece" (5:48)
Paul Cherry - "Like Yesterday" (4:00)
HNNY - "Sunday" (3:01)
Review: The best editions of the long running "Back To Mine" series tend to be those where the chosen selector offers up a varied but loosely linked mix of surprising and lesser-known tunes. On their edition, Mercury Prize nominated duo Jungle has done just that. Beginning with the bluesy late night lament of Barbara Moore's "Steam Heart", the pair takes us on a warming and eye-opening journey through Afrobeat (Inflo), glassy-eyed wind-down deep house (Manuel Darquart, Admin's brilliant "Space Cadet"), skewed pop (Mocky), string-laden jazz-funk (Kamaal Williams), Serge Gainsbourg-esque chanson (Sam Evian), drowsy Balearica (Mansur Brown), and loved-up 1960s style dream pop (The Flying Stars Of Brooklyn NY, HNNY).
Review: For Brazilian music collectors, the two 1970s albums by sadly departed vocalist and multi-instrumentalist Ana Mazzotti have long been must-have sets. Listening to Far Out's new reissue of the second of those, 1977's self-titled "Ana Mazzotti", it's easy to see why. The album is warm, woozy and groovy, joining the dots between slick and summery samba-jazz, synthesizer-laden bossa-nova, Azymuth style jazz-funk/fusion (see the delicious and laidback "Sou") and the kind of atmospheric, otherworldly deepness rarely heard in Brazilian popular music during that period. Highlights are plentiful throughout, with "Cordao", the spacey and up-tempo "Eta Samba Bom" and languid "Bairro Negro" among the many standout tracks.
Gagle - "Vanta Black" (instrumental (Produced By DJ Mitsu The beats))
DJ Mitsu The Beats - "Old Town Uplift" (instrumental)
Review: Two tracks from Japan produced by DJ Mitsu the Beats . First up is a lush and string laden jazzy instrumental version of Vanta Black from DJ Mitsu's Sendai hip hop group GAGLE taken from the album of the same name from 2018. On the flipside we are presented with Old Town Uplift taken from the Turntable album on Jazzy Sport .Double bass focussed hipnotic jazz with poignant piano keys and strings from Otoji + Ray underscored with sounds effects from field recordings obtained in Tokushima. Limited to 300 hand-numbered copies and not available in Japan.
Review: Since 2015 Reedale Rise's refined strand of electro and techno has quickly established him as one of the most inventive artists operating in the current crop of machine manipulators coming out of the UK underground. Liverpool-based producer Simon Keat has released a prolific body of work under the alias in a short space of time, notching up appearances on crucial labels such as Frustrated Funk, Hizou, Where We Met and many more besides. With a sound indebted to the early wave of UK techno artists like B12, the electro experimentation of Silicon Scally as well as Detroit forefathers such as Drexciya and Model 500, it's not hard to see why Reedale Rise makes perfect sense on Ornate. Technically astounding and emotionally charged, across all three tracks ORN027 marries shimmering, hi-def synth lines with crisp rhythms spanning 2-step shuffle, broken beats and understated techno propulsion.