Curtis Baker & The Bravehearts - "Fried Fish ’n’ Collard Greens" (2:40)
The Native Yinzer - "The Hip Strip" (2:33)
Review: The fourth edition in Original Gravity's Down In The Basement series, which gathers instrumental soul and swing cuts onto worthy 7" slabs, resounding the fervent 1960s decadal gap in which mod reigned supreme. With juleps flowing and kneecaps knocking, Abramo & Nestor bring newfangled electric pianistic swing with 'Dig It!', while a twinned "hit it!" injunction is heard from Floyd James & The GTs on the reissued 'Work That Thang'; James' voice is tubed and speed-delayed to terrific effect, achieving a sprung intonation. Curtis Baker brassifies the bonanza with the lively 'Fried Fish 'n' Collard Greens', while The Native Yinzer's exiting excitation 'The Hip Strip' quilts our ears with a mnemic, down-feathery Hammond-breaks bit.
Review: The Milanese outfit dive headlong into cinematic Afro-disco on this limited 7", reworking two cult dancefloor staples with characteristic flair. On the A-side, their version of Piero Umiliani's 'Discomania' hits with tightened syncopation and swirling synth arrangements, turning the cosmic Italo-disco cut into a hypnotic afrobeat strut. Flip it over for a rich reimagining of Azymuth's 'Jazz Carnival'iCalibro 35 boost the groove with deep-bottomed funk and crisp horns, pushing the original's samba swing into widescreen. Known for their work at the intersection of funk, soundtrack and psych, the band bring sharp musicianship and warm analogue heat to both sides of this essential 45.
Review: Terry Callier's rediscovery in the early 90s was a turning point for Acid Jazz and few records symbolise that era quite like 'I Don't Want To See Myself (Without You)'. Originally released as a one-off on the indie label Erect, the track was Callier's final release before stepping away from music, leaving behind a career that had spanned Prestige, Cadet, and Elektra. By the time Acid Jazz reissued it in 1990, the original pressing had become a grail for collectors, with prices soaring. The song itself is a masterclass in understated soul, Callier's plaintive vocal weaving through rich instrumentation with the kind of deep emotional resonance that only he could deliver. Over the next decade, his legend grewihe returned to recording, toured the UK, and finally received the recognition he deserved. In 2006, Acid Jazz gave the record another limited pressing, featuring a fresh edit from Andy Lewis. Now, with the blessing of Callier's estate, the single is back once more, backed with 'If I Could Make You'. A vital piece of modern soul history, fully restored.
Review: The Brazil 45 series is pure gold for lovers of Latin sounds across the funk, jazz and soul spectrum. Each one sells out fats but usually emcees back around, as is the case with this 18th edition. It features Ely Camargo's 'Taieiras' from his Ely's 1972 album Cantos Da Minha Gente and is a lively folk-inspired track sampled famously by DJ Yoda in 2012. Despite recording 12 albums, Ely remains an enigmatic figure whose music is all we have to feed off. On the flip side, Rio sibling trio Trio Esperanca shine with their psychedelic gem from their 1971 self-titled album. Known for their stunning harmonies, the group released seven albums between 1963 and 1975 but this is one of their finest moments.
Review: Mr Bongo take an MPB breather, tempering their recent larger-scale ambition to reissue mammoth Brazilian disco on comp with a 7" side order appetiser of a classic Brazilian MPB track. Celia's 'Na Boco Do Sol' ('At the Mouth of the Sun') is a gestalt slice of slow-samba, bringing with it a dash of torrid soul and telenovela cinematics. The favourite Arthur Verocai collaborator sings of psychic cities and imaginariums of the soul, verifying a well-travelled spirit; Verocai himself, and Vitor Martins, both lend the song a fuzzy phonic with their guitars and strings. And on the B side comes 'A Hora e Essa, the first track from her second self-titled LP: a lively samba-funk workout, doused in jazzy piano licks, strutting guitars and punchy horns.
Review: Matthieu Chedid and Seu Jorge's long-running collaboration reaches a new peak with this latest release. A-side, the track 'Parioca' brings together the duo's signature stylesiChedid's French flair and Jorge's Brazilian rhythms, resulting in a seamless fusion of groove and melody that invites listeners into a warm, joyful world where their distinct musical identities meet. The B-side's dub mix of 'Parioca' takes things in a deeper direction, layering hypnotic rhythms and atmospheric textures that open up the track, creating an expansive, dubby atmosphere. It's a perfect companion to the original, showing the depth and versatility of their musical partnership, which continues to evolve after more than a decade of collaboration.
Review: Cheeba's Latin brothers are back with yet another Havanan shuffle, extensively vacationing in Cuba to soak in very best of the nation's ripest stylistic amassments. Taking cues from cut and paste funk to Latin boogaloo, 'Cuban Shuffle' and 'Pablo's Theme' urge us formerly to "keep it going, now" before latterly dropping us into a fuzz-scat vat of hazy brass and stomping, found percussion. Most notably, the A-side's vinyl scratches sate a pruritic itch, and a careful dosage of reverb marks out a roomy but expansive atmosphere, one difficult to recreate lest you actually were there in 1970s Cuba.
Review: Two supreme MPB/bossa nova cuts courtesy of Mr Bongo's resident popular-musica plug Claudia. The MPB singer began her career at the tender age of nine and gained recognition in the 1960s. Her repertoire extends to samba and rock, and having put out an extensive suite of LPs, we're more than faithful in Claudia's selective brilliance, not least when it comes to her own catalogue. Here on the A we have 'Deixa o Morro Cantar', which features on Claudia's very first 7", released in 1965 by RGE: a warm, burring, brass-backed beat typhoon. And on the flip side comes her timeless version of the mythic 'Mas Que Nada', a jazzier folk-funk take on the Jorge Ben classic.
Review: 'Deixa Eu Dizer' is a timeless Brazilian classic that was famously sampled by Marcelo D2 on his iconic hip-hop track 'Desafabo' and maybe just as notary, it was also the debut release on Mr Bongo's now much loved Brazil 45's imprint. It originally featured on Cizinha's stunning album of the same name and until Mr Bongo stepped in it had never been available on a 7". 'Deixa Eu Dizer' has been a long-standing favourite with deep diggers despite its mysterious origins and this welcome reissue not only celebrates Cizinha's unforgettable contribution to Brazilian music but also brings this beloved track to a new generation.
Gilles's Peterson's Havana Cultura Band - "The Rumba Experiement" (Motor City Drum Ensemble remix) (6:35)
Review: New York legend and Body & Soul man Joe Claussell is first to land on this new Brownswood Remix Edition as he drops a Sacred Rhythm mix of his own tune with Cuban singer Dayme Arocena. It offers a fresh perspective on the original timeless composition with drawn-out drums leading to a signature spiritual rapture. On the flip is a dynamic reinterpretation of Gilles Peterson's Havana Cultura Band by German artist Motor City Drum Ensemble, who now goes under his birth name. He brings some dusty house drums to make for a perfectly flavoursome sound for outdoor dancing.
Review: Blending hi-NRG and Latin cumbia, Combo Chimbita present a brand new single for Wonderwheel Recordings, 'Dimelo'. Described as an internal dialogue - a sonic representation of what it feels and sounds like to choose yourself - the refrain "Cuando por fin yo me elegi" is heard repeatedly throughout the track, as self-selection is maximised, contra the impossibility of saving others before oneself. The band's Carolina Oliveros says of the song, "however much you love someone, you can't force them to love yourself in the same way - that is love you have to give yourself." The Busy Twist remixes the idea, self-caring through salvos of oily guitar and toe-tapping woodblock shot, hitting like a health kick.
Conjunto Media Luna/Mumbia Y Sus Candelosos - "Bogotokio" (feat Hydro As BNJ) (3:20)
Mumbia Y Sus Candelosos/Conjunto Media Luna - "Cumbia Teriyaki" (3:30)
Review: Conjunto Medialuna's latest album on Little Beat More is a direct trip to the heart of Bogota's rich cumbia scene. The record blends traditional rhythms with psychedelic influences driven by the Colombian accordion and ecstatic percussion that is so strongly associated with this style. These are two of the jams from it, but frankly you should also check out the full LP. It's a tribute to the guacharaca and the lively street parrandas where each song explores new interpretations of classic sounds. Featuring collaborations with N. Hardem, Mismo Perro, Son Rompe Pera, MC Hydro and Japanese-Latin percussionist Muupy, Noches de Medialuna, it transcends cultural boundaries and joins the dots between traditional and modern urban Latin music which is now so hugely popular around the world.
Review: Never before released in this particular form, two inscriptions by the French jazz fusion band Cortex make for a fidgeting classic each, perfect for the tube-amped dancefloor. Made up of many a cover and original, the full-length 'Inedit '79' EP first came to Underdog Records in 2006, though it was composed almost entirely of recordings laid down in 1979, proving the band's asynchronic staying power across decades. This new 7", however, recuts the lead track from the album, and a never-before-heard session floorcut respectively. The B-side in question, 'Where Do You Come From', did not appear on the 2006 release, and was also recorded later in 1981, though it is considered a part of the same inspo-flush.
Review: Mr. Bongo provide a stark slice of Brasiliera with a split 7" tackling star works from scene-fellows Georgette and Claudia, making up the 26th release in their esteemed Brazil-themed series. For this one, the label home in on two firm favourite artists of the 70s Rio scene, whose same two featuring tunes have already been released side-by-side by the label in 2015: Brazilian samba singer Georgette, whose 'Kirie' brings tense suspended flavours to a lively, formerly hard-to-obtain album cut from 1976; and fellow MPB vocalist Claudia's 'Com Mais De 30', a cover of Marcos and Sergio Valle's original version, which commands a springy downbeat and vocal echo. Both made famous again by their selections by various present day popularisers such as Four Tet and Gilles Peterson, Mr. Bongo clamp their mitts on the fervour once more.
Aniceto Molina Y Su Conjunto - "Cumbria Candela" (3:04)
Catalino Y Su Combo Negro - "Cumbia Montaera" (2:23)
Los Hermanos Martelo - "Por Las Buenas" (2:52)
La Pesada - "Cumbia Y Tambo (En La Lluvia)" (3:54)
Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.
Tomoko Kina - "Tie Island" (No Man's Island mix) (5:08)
Review: Japan's Fourth Wave Record Factory sure does know how to serve up brilliantly beguiling sounds that ate you well out of your here and now. Next up is this, 'Dondon Bushi' 7" by Shoukichi Kina, Champloo and Tomoko Kina that explores a mix of Okinawan traditional sounds and modern grooves. The Mbira dance mix of the A-side jam is a bubbly rhythm with worldly percussion and soulful melodies that echo folk majesty and are topped with a wonderful weird vocal from Shoukichi Kina. On the flip, there is a more lazy and downtempo style dub rhythm, 'Tie Island' (No Man's Island mix) which is another worldly trip.
Review: Since emerging in their home country a decade ago, Caixa Cubo have flitted between labels (most notably Heavenly Recordings and Jazz 'N' Milk) while establishing trademark sound that expands on the jazz-funk-meets-samba-jazz template created by fellow countrymen Azymuth (like that band, they're a trio based around drums, bass and organ/electric piano). Unsurprisingly, they've now found a home on Joe Davis's Brazil-focused Far Out Recordings, a stable that has done much to champion Azymuth in the UK. Modo Avia (air mode) is typically warm, breezy and gently tropical, fusing killer grooves and infectious, off-kilter rhythms with brilliant solos, infectious riffs and far-sighted musical flourishes. It feels like the sort of set that will be talked about in hushed tones in 30 or 40 years, and we can think of no greater praise than that.
Review: Candeleros is a six-member, Colombia- and Venezuela-rooted collective based in Madrid that fuse Cumbia, merengue, dub and an array of Afro-Caribbean rhythms, creating a psychedelic, postmodern celebration of Latin sound. Their music blends Andean echoes, cinematic textures and hypnotic percussion into what feels like a ritualistic dance experience and has seen them collaborating with artists like Dodosound and Carlos Talez. They always reject the usual genre boundaries while focusing on cultural activism and the power of collective expression and have performed across Europe. As this album shows, their sound is passionate, borderless and proof that Cumbia has truly rooted itself in Europe.
Review: Venezuelan producer and multi-instrumentalist Caribombo is back with his new album Barrio Popular and it's a true outlier, that would be hard to put into any specific existing category. From the African Salsa dancer 'Bolingo' to the global club banger 'El Catire', Barrio Popular is as much a floor filler than a deep listen; an eclectic journey that draws on the French African and South-Asian diasporas' musical cultures to create colourful pieces of Dance music inspired by the artist's Colombo-Venezuelan heritage. Cumbia, dub, Afro-House, Afro-Venezuelan music, UK bass, favela funk, salsa, downtempo and hip-hop are among the numerous genres Caribombo effortlessly explores in this new, mature and surprisingly coherent project, where organic sounds harmoniously meet impeccably produced electronic beats and skilful Latin drumming. A musical adventure to the world's popular neighbourhoods, featuring guest rising stars from Mexico, Uganda, Venezuela, the Democratic Republic of the Congo and the UK.
Review: An American jazz musician from St. Augustine, Florida, Doug Carn's second album for Black Jazz captures a transformative moment in jazz, blending spiritual fervour with the soulful voice of his wife, Jean Carn. She brings a rich layer to Carn's compositions, with her five-octave vocal range lending an ethereal quality to both original pieces and reimagined jazz standards. On tracks like 'My Spirit' and 'Arise and Shine,' Jean's vocals elevate the music, creating an emotional landscape that's both uplifting and powerful. The album also features standout performances from a stellar lineup of musicians, including trumpeter Charles Tolliver, saxophonist George Harper, and drummer Alphonse Mouzon. Their collective energy complements Carn's innovative approach, making this a standout release in the genre.
Review: Cassiano's Cuban Soul - 18 Kilates was first released in 1976 and is a landmark of Brazilian soul for the way it blends the groove of American r&b with native rhythms in a way few artists have matched. Long coveted by collectors, the album has achieved cult status and now returns remastered from the original tapes on 180g vinyl so it is sure to fly off the shelves. Cassiano's velvety vocals glide over lush, cinematic arrangements throughout and in doing so, evoke the grandeur of contemporaries like Tim Maia. From start to finish, this album is packed with depth, warmth and effortless cool, which makes it an essential listen for anyone who likes soul, samba and vintage Brazilian brilliance.
Review: Walkin' After Midnight is a excellent collection that shows off the unparalleled talent of Eva Cassidy, featuring 12 previously unreleased live recordings on 180g vinyl. Recorded during a serendipitous performance at the King of France Tavern in Annapolis on November 2, 1995, this album highlights Cassidy's exceptional voice and ability to adapt to unexpected circumstances. The inclusion of the new track 'Down Home Blues', a lively western swing piece, is a delightful addition that complements her existing repertoire. With a stripped-down arrangement featuring violin, lead guitar, bass and Cassidy's acoustic guitar, the performance feels intimate and fresh, allowing her joyous vocals to shine. While most of the songs are familiar to long-time fans, their raw and unpolished nature makes this collection a unique listening experience. For both diehard completists and casual listeners alike, Walkin' After Midnight serves as a poignant reminder of Cassidy's brilliance, inviting you to immerse yourself in the warmth of her voice.
Review: Central, the "salsa band closest to the club scene" based in Tokyo, follows up former consecutive singles hits ('Samurai, 'Pastime Paradise') with the new full-length album in which they're housed, Flor De Roble. With a core primetime salsa cover of Stevie Wonder's 'Pastime Paradise' leading the charge, we've then a string of originals here, from 'Flor De 1.1 Rb.' and 'Samurai'. Also included are Carabali's 'Was I Surprised' and Crazy Ken Band's infamous soul masterpiece 'Towel', both again adorned in a bold salsa arrangement. An honorific 25th Anniversary album, though it is new.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.