AfroQbano - "El Bucanero" (feat Kevin Ford - Dez Andres remix) (4:40)
Review: Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.
Review: Montreal producer and keyboard maestro Anomalie offers a full-MOT servicing of funk-jazz on 'Velours', a choice track that presaged his 2018 EP 'Metropole'. Born of a chilled bedroom jam, the first iteration of this track was uploaded to YouTube in 2017, and utilised stacks of Yamaha pianos as well as sleek, sexily designed sample pads. Anomalie provides a rich, honeyed set of chordophonal can-cans over nothing but a swung backbeat, bringing seemingly boundless phonic fruition from little nutrient. Now the song hears a full reproduction and repackaging in vinyl form via Devins 7s.
Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.
Review: The talented Joe Armon-Jones has been at the centre of some of London's most exciting musical developments in the jazz world in recent years, not least as co-founder of the mighty Ezra Collective. He is a prolific creator, keyboardist, singer and producer who draws on dub, pop, hip-hop and electronica to foment his own style and once again that shines through with this, the first part of his new album on his own Aquarii Records. It is full of standouts like the Afro-leaning drums and summery melodies of 'Kingfisher (feat. Asheber)' with life-affirming lyrics. 'Show Me' has a darker downtempo energy with crashing hits and drums and 'Hurry Up & Wait' ends on a tender note with introspective keys and feathery drums.
Review: The classic sound of British library music is the inspiration for this third volume in ATA's The Library Archive series. It's another magnificently seductive and sophisticated collection of funk, jazz, spy-thriller soundtracks, late-night lounge moments and evocative atmospherics. Blaxploitation era composers such as Willie Hutch and Melvin Van Peebles and the genius of Roy Bud are particular preference points in this one and each cut is brilliantly authentic and lovingly crafted. This series started back in 2019 and four years later it is still going strong.
Review: With Slow Burn, Baby Rose showcases a remarkable evolution from her previous album, expanding her sonic palette into a raw and sprawling exploration of American music. Teaming up with BADBADNOTGOOD, Rose delves into progressive r&b, infusing elements of Muscle Shoals, psych, jazz, and Americana to create a mesmerizing collection of songs. The collaboration with BADBADNOTGOOD proved to be an instant and fruitful partnership, with lead single 'One Last Dance' capturing the essence of Rose's vision from the very first meeting. This track, disguised as a love song, is actually an ode to lost friendship, with Rose's vocals layered into a hypnotic lullaby over Chester Hansen's dreamlike bassline. Throughout Slow Burn, Rose draws inspiration from her experiences driving between the chaos of DC and the tranquility of the Carolina countryside, allowing her mind to wander and explore internal dialogues. The title track exemplifies this introspective journey, with soft, ambling drums and lyrical repetitions evoking patient desire. Overall, 'Slow Burn' exudes a sense of intimacy and mystery, with each song arriving on tiptoe, inviting listeners into Rose's world of introspection and emotion. As a vocalist and lyricist, Rose demonstrates boundless potential, supported by the synergy of her collaboration with BADBADNOTGOOD. This album marks a significant step forward for Baby Rose, hinting at even greater heights to come in her musical journey.
Review: These previously unreleased tracks from Revelations member Phillip Balou were offered to Super Disco Edits by one-time British soul journalist David Nathan, who worked alongside the musician and band mate John Simmons at the tail end of the 1970s. A-side "Ain't Nothing Like The Love", a gospel inspired slice of sumptuous soul complete with jazzy guitar solos and an evocative lead vocal from Ballou, is undoubtedly the pick of the two tracks and well worth anyone's hard-earned cash. That said, deep and sugary flipside "For Real" - a thrillingly evocative slow jam full of gospel style choral backing vocals, sumptuous electric piano and sweeping, synthesized strings - is almost as good.
Review: Bamma Gamma returns with a sizzling slab of funk in the form of 'Omelette' via Detroit's renowned Funk Night Records. This one is a digger's dream, raw, gritty instrumental funk with break-heavy drums, tight guitar licks and basslines so greasy they practically drip off the record. True to Funk Night's underground sound, Omelette is unapologetically retro and authentic and serves up irresistible dancefloor heat that feels like a lost '70s cut that has been newly rediscovered. For DJs looking to inject some analogue soul into their sets, it's a no-brainer.
Review: Tropical is Brazilian samba legend Jorge Ben Jor's fifteenth album and it blends unreleased tracks with reimagined covers like 'Taj Mahal' and 'Pais Tropical.' This superb mix of tunes embraces more pop and Western influences than before and hints at his later shift toward the World-Dance sound of the 1980s. Originally aimed at international markets, the album wasn't released in Brazil until 1977 but ably showcased Ben Jor's immense talent as he skilfully revitalises familiar tunes with fresh arrangements that capture the spirit of the times. This era-defining record from Brazil is yet another must-have.
Review: Polish experimentalists Bloto consider themselves indebted to the hip-hop and trip hop of the 90s, particularly the atmospheric cuts that stuck out of the ends of otherwise harder-hitting records. Staying true to the work ethic of the titans that preceded them, the band laid down three full-length records in 2020 before then jetting off on tour; only now in 2024 does Grzybnia follow as its the fourth prong on what was originally thought to be a trident. 'Grzybnia' is the Polish word for mycelium; this record is just as decidedly decompository in sound, its ad-hoc use of electronic and live drumming - wherever each might be needed best - sounding like the sinewy, by-any-means-necessary action of a fungal hypha, rootling deep into soils to unearth what might still lie dormant there. The live jazz, trip-hop and hip-hop admixture here is a real Frankenstein, 'Shiitake' standing out amongst the chitinous caps; Bloto consider it a response to an "unstable modern world that is breaking apart into pieces", and in which mycelium offers a powerful model of the potential resilience of life despite it.
Review: Across four elegantly crafted tracks, Italian producer Bottone blends rich melodies with smooth, intricate production, creating a collection that feels effortless and deeply refined. Side -1 opens with 'On Hilly Earth', a laid-back yet deep cut where light, jazzy chords float over a deep, groovy foundationiperfect for early evening unwinding. 'Teach Me The Way You Walk' steps up the tempo slightly, embracing a warm, melodic house feel with a sunset-kissed glow, its uplifting vibe tailor-made for golden-hour dancefloors. The title track, 'Beggin' For Love', leads Side-2 with gentle, beachy rhythms and keyboard work that exudes warmth and relaxation. Finally, 'It's A Heart Feeling' closes the EP with a deep, emotive grooveiits soulful touch and flowing melodies making it an ideal end-of-the-night moment. With 'Beggin' For Love', Bottone crafts a great balance of sophistication and ease, showing he is a name to watch for in the future.
Review: The legendary UK acid-jazz innovators Brand New Heavies dropped many a classic sounds and none more so than their iconic album 'Heavy Rhyme Experience Vol. 1. More than three decades after first release it remains an influential work that blends UK club jazz with US hip-hop. Featuring collaborations with artists like Main Source, The Pharcyde, Gang Starr, and Black Sheep, the album marked a groundbreaking fusion of genres back in its heyday and now two standout tracks from the album, 'Soul Flower' featuring The Pharcyde and 'It's Gettin' Hectic' featuring Gang Starr make their way to 7" for the first time and sounds as good as ever.
Review: Produced and sleeked out at Opal Studios in NYC, back in 1975, Buari's self-titled LP has been a cornerstone of international highlife music since it was first released. The original is now an arduous item to find at a decent price, so we thanks the Be With label for having repackaged an essential Afro LP that is a must have for anyone into anything outside a constant beat drum. "Karam Bani" opens with a forceful helping of funk, percussive to to the max, and this same hypnotic groove formula is present across the entirety of the A-side, making this a sampler's dream come true. On the flip, "Iro Le Pa" is the stand-out tune for us, a rhythm that makes Theo Parrish's Ugly Edits seems kinda tame! Recommended.
Review: During the 1970s, Cornell Campbell made some fantastic records with producer Bunny Lee. 'My Baby Just Care For Me', a favourite amongst the lovers rock-powered 1970s blues party scene in London, is undoubtedly one of their best joint efforts. The riddim is loose and languid, the added piano solos pleasingly expressive and jangling, and Campbell soulful lead vocal tterly beguiling. Chunkier, more dancefloor-friendly roots reggae vibes are the order of the day on flipside cut 'Jah Jah He Morn Ya', where Campbell's vocal improvisation between verses add even more energy to an already heavyweight jam. In a word: essential.
Soul Messin Allstars - "Soul A Go Go" (feat Josh Teskey) (3:35)
Amp Fiddler - "Superfly" (feat Dame Brown - Sam Redmores’ Exclusive ‘Trunk Of Funk’ edit) (4:15)
Roy Ayers - "Boogie Down" (6:01)
Laneous - "Hold My Hand" (3:46)
Miriam Makeba - "Pata Pata" (2:59)
Oneness Of Juju - "African Rhythms" (Exclusive ‘Trunk Of Funk’ edit) (3:52)
PP Arnold - "Medicated Goo" (3:43)
The Fantastics - "Take A Shot" (feat Sulene Fleming) (3:40)
Juan Laya & Jorge Montiel - "Give Me The Night" (feat Xantone Blacq) (4:18)
Out Of The Ordinary - "The Republic Of Persevere" (feat Mike Keat & The Bevvy Sisters) (3:29)
Patrice Rushen - "Forget Me Nots" (7" single version) (4:00)
The James Taylor Quartet - "People Get Ready" (feat Natalie Williams & Noel McKoy) (4:40)
Monophonics - "Hangin’ On" (3:34)
Nick Waterhouse - "The Old Place" (3:22)
Michelle David & The Gospel Sessions - "Victory!" (4:17)
Magnus Carlson - "Beggin’" (2:50)
Alex Opal - "Telling You Lies" (feat Jam Jam) (3:32)
Badge & Talkalot - "Help Me" (feat Ian Whitelaw) (4:00)
Beatchild & The Slakedeliqs - "The Only Difference" (4:15)
Honeyfeet - "Clap Hands" (4:39)
Review: Red Dwarf star turned soap actor and longtime BBC Radio 6 Music funk master Craig Charles has put together a first volume of classics for your delectation. On a double vinyl collection that spans 20 tracks he traverse every conceivable style from the earliest days of the genre right up to today. The cuts remain pleasingly underground and carefully dug out rather than veering into obvious filler territory and there are up-tempo cuts with more deep and pained offerings. It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.
Review: Echo Chamber Recordings celebrates its first anniversary this month with a new release in the Boogaloo Lessons Series. This latest instalment comes in special hand-numbered orange vinyl 7" limited to 150 copies and features Cheeba's Latin Bros, who deliver exceptional boogaloo tracks as per usual. The A-side, 'One Step Beyond,' boasts infectious rhythms, powerful drum beats and dynamic fills. On the B-side, 'Set Your Soul Free' combines the energetic boogaloo vibe with a touch of soulful tenderness, featuring vibrant percussion and captivating, offbeat chords. This release promises to keep the dance floor moving and showcases the rich, rhythmic textures of the boogaloo sound.
Review: Echi Chamber is reissuing the records is served up late last year because they were all so excellent they sold out. This one is from Cheeba's Latin Bros, a new Latin and boogaloo project from Si Cheeba who is a long-time vet' of the jazz and groove scene that was so big back in the 1990s in Manchester. Limited to just 300 copies, it features one tune spread across two sides of vinyl. 'New York Streets (part 1)' is a raw percussive hustle with big horns and impassioned funk vocals that never let up. Part two is a continuation of that same vibe with just as much raw, direct and percussive goodness to get lost in.
Review: Cheeba's Prestige All Stars delivers a knockout punch with I Got You on this very limited 7" release from Echo Chamber Recordings. The Afro-Latin funk fusion hits hard with two versions of the track. The original version is a raw, high-energy cut featuring hard-edge drums, vibrant Charles Keynard keyboard samples, and powerful saxophone riffs. On the flip side, the instrumental version maintains the same intensity, with Prestige 10000 series-inspired elements adding depth to the groove. Both versions features the band's prowess in blending Afro and Latin rhythms with soul-jazz influences, making I Got You a wonderful 7" to treasure.
Review: Admittedly, we're as in the dark now about Cheeba's Prestige Allstars as we were when it first dropped last year, but it sold out so has done well. This reissue of the limited 7" release is a steamy blend of Afro and Latin funk. 'Dig This!' (vocal version) delivers a raw, energetic cut with punchy drums and lively James Brown samples, complemented by bold saxophone riffs. On the flip side, the instrumental version retains the groove, albeit slightly stripped back, maintaining the essence of James Brown's mic presence. While details about the band remain elusive, their music speaks volumes, offering a vibrant fusion of sounds that captivate dancefloors.
Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.
Review: Natalie Cole was an American singer-songwriter who excelled in soul, pop, and jazz. She was the daughter of the legendary Nat King Cole, and she had notable family ties including being the cousin of Eddie Cole and the niece of Freddy Cole. Early in her career, she was married to Marvin Yancy, who was part of the songwriting and producing duo Chuck Jackson & Marvin Yancy. Together, they contributed significantly to shaping her musical journey and initial successes and one of her standout jams is the title cut here 'Winner (Take All )' which is a low-slung 80s synth disco delight. 'Azz Iz' brings some boogie to the squelchy synth bass and 'Movin' On' brings horn-led joy. 'How Can You Stop' is a slower more sentimental end of the night closer.
Review: Bassist and composer Graham Collier's Down Another Road is a real piece of British jazz history. It was recorded live in 1969 at Stockholm's Jazz Day festival with a superstar six-piece band featuring jazz heavyweights Harry Beckett, Stan Sulzmann, Karl Jenkins and John Marshall. This recording has never been released before while an OG will cost over 200 pounds, such is its cult status. It is said to be his best album by fans who know and it has lots of highly melodic tunes with pop themes, 60s groove and on-point drumming. On this version, the abstract 'Danish Blue' is replaced by the free jazz epic 'Burblings for Bob'.
Review: Hailing from Charleston, South Carolina, Contour brings a fresh flow to black soul music which finds a natural home on leading London label Touching Bass. Khari Lucas, to use his given name, uses the 12 tracks on Onwards! To reflect on the nature of black art past, present and future. His tools of expression are a mesmerising voice, smoky beat production and compelling lyricism, folded up into an album which ranks alongside some of the best of recent times. We're in a prime era for progressive soul, whether it's Liv.e or Sudan Archives we're tuning into and Contour is helping push things forwards in his own deeply felt way.
The Poindexter Brothers - "What I Did In The Streets (I Should Have Done At Home)" (3:17)
Review: Soul Junction's latest release brings together two sought-after heavy soul cuts from the studio of the Poindexter Brothers: their own 1969 heater "What I Did In The Street (I Should Have Done At Home)" - a sweet, Vibraphone-sporting slab of rasping, full-throated, horn-heavy sixties soul just dripping with emotion - and a killer cut they produced a year earlier for singer Vivian Copeland. You'll find that song, "Chaos In My Heart", on the A-side. Originally released on Bell, it's an attractive and additive mid-tempo number in which Copeland's fine vocals come supported by low-register horns, shuffling soul grooves and some suitably heavenly backing vocals.
Review: Amon Tobin's debut album under the Cujo alias is a sprawling, complex work that spans 21 tracks and blurs the lines between multiple genres. First released in the mid-90s, it introduced a unique blend of live instruments and innovative sampling that would go on to shape Tobin's entire career. This is first time all the tracks have been compiled together, providing a complete version of the album that had previously been scattered across different editions. From the moody, atmospheric 'Cat People' to the intricate jazz influences in 'The Brazilianaire', the album captures Tobin's knack for combining breakbeats with more experimental sounds. There's an almost cinematic quality to the compositions, with moments of ambient calm giving way to punchy, layered rhythms. The sheer variety of ideas packed into the album is remarkable, from the driving percussion of 'Traffic' to the rich, textural complexity of 'Cruzer.' Even now, nearly 30 years on, the album still feels fresh and ahead of its time, illustrating Tobin's pioneering approach to electronic music. This reissue is a fitting reminder of the innovative work that laid the foundation for a remarkable career.
Review: A true return to form, Renascence is a standout in the band's iconic discography, now available on limited edition transparent coral vinyl. Serving as a spiritual and sonic successor to their 1974 album Promised Heights, it brings a fresh, modern edge to their foundational sound, which helped shape early hip-hop and funk scenes in both the US and UK. Renascence tells the story of a band reclaiming the recognition they never fully received, staying true to their rootsipolitically aware, spiritually positive and delivering infectious grooves. This indie exclusive edition is a must-have for any serious collector.
Review: Cruising the slipstream of Black Messiah, D'Angelo's debut album gets a timely reissue 20 years after its release. The neo-soul foundations dig deep with every nuance and subtlety D'Angelo has become known for; the Gaye-level harmonies of "Crusin'", the jazz meanders of "Sh*t Damn Motherf*ker" and the unstoppably sexual drive of "Lady"... If this isn't in your collection already, now is most definitely the time.
Review: If you haven't got Ubiquity's 2006 Darondo collection yet, now is most crucially the time. Shucks, if you have got it, you might want this for the collection anyway. Criminally overlooked by funk tourists, the Bay Area legend was originally the soul preserve for serious collectors until Gilles Peterson, Jack Penate and even Breaking Bad brought him to our attention a few years before his death. With a stark vocal range that reaches falsettos Jack Splash could only dream of and a lyrical dexterity that sits solemnly between raw emotion and touching poetry, each track shows how helped shape the blueprint that the likes of Child Of Luv, Plantlife, Amp Fiddler and many others developed years later. Essential.
Review: Miles Davis's Seven Steps to Heaven album came in 1963 and was recorded in two different studios at a vital time in his career. It was the first new work in a year (back then he had released thick and fast since debuting in 1950) and can be rightly thought to be the first time his second great quintet really came together and showed their mettle. The album got two Grammy nominations and is also noted for being the last time Davis mixed up standards with original works. It's one of his most expressive and well-played oeuvres. This special edition reissue has been remastered from the original analogue master tapes so sounds of the highest quality and is backed with detail, tone and definition.
Review: ***B-STOCK: Slight surface mark on the record sleeve***
April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.
Review: Miles Davis' On the Corner was released in 1972 and was initially dismissed by jazz purists for its unconventional style but over time its visionary approach has been rightfully given the respect it deserves. Davis' boldest and most controversial album in a discography full of them, On the Corner shifted jazz's focus to groove and bass-heavy funk and reshaped the genre and pioneering techniques that anticipated remix culture and electronica by over a decade. This special pressing, sourced from the original master tapes and pressed on MoFi SuperVinyl, enhances the record's deep basslines and intricate studio techniques to offer a vivid and immersive listening experience that underscores its groundbreaking influence.
Review: This sizzling new 7" from Super Disco Edits serves up Dayton's 'Sky's The Limit' which is a red hot slice of previously unissued 1982 soul.Hall of fun famers Dayton were a well established and popular group with a lush sound that was couched in soul but with funky grooves, boogie basslines and hints of disco shimmer and shine. This gorgeous single has all that and more including a big, buttery vocal. It is an epic, guaranteed floor filler which on the flip side has 'Sky's The Limit (long version)' for extra devastation.
Review: Some seriously classic soul vibes shine bright on this new 45 rpm from Dayton Grey. It's one that will have Northern Soul fans in a spin too, literally and emotionally, with its gorgeously sweet and smooth vocals. They soar over nimble drums and swooping strings that add the lushness on A-side 'Love Is On The Line.' On the flip, 'He Won't Love You (Like I Do)' slows things down and wallows in more mournful vocals and sombre melodies over heavier-hearted drums. Both tunes are life-enriching for different reasons.
Review: 'Listen To Me Girl' is a previously unreleased Philadelphia recording licensed from veteran producer Emanuel Manny Campbell Jr. Although featured on a Coastal Records CD project, this marks the first vinyl release of one of The Delights' best tunes. The group consisted of four young male singers, two of whom were Manny's cousins, Keith and Ellis Hill, along with their cousin Jaime and teenage friend, and all were all aged 16-17 and from Chester, Pennsylvania. Under Manny's guidance, they recorded this soulful dancer in 1968. Despite their potential, the group never completed the planned projects and so 'Listen To Me Girl' remains a rare gem from their short-lived career.
Review: Ron Hardy's legacy lives on though stories of his legendary DJ sets but also his seemingly endless catalogue of edits and reworks of the tunes he played in his heyday. Here we have another such exhibit in which he flips some classic disco. The original version of 'No Way Back' is riddled with picked guitar licks and dreamy keys while a funky low end moves on this disco-rock gem as brass bursts out for added oomph. Hardy ups the pace, twists it beyond this realm and adds big drum breaks that are Prue bit for dancers. It's a classic in its own right that gets regular plays by more bold and eclectic DJs.
Review: Jazz multi-instrumentalist Eric Dolphy's Out To Lunch is the latest in the on going Blue Note Reissue series, Tone Poet. It was his only recording for the seminal label and is often said to be one of the best they ever put out, as well as one of Dolphy's own personal highlights. Certainly fans of 1960s avant-garde jazz will agree. Dolphy was joined by trumpeter Freddie Hubbard and bassist Richard Davis amongst others, and told all players that there was no leader in the recording sessions that made up the album. That makes for a dense, busy and freeform record filled with wild playing and super musical ideas.
Review: EABS' forthcoming album, Reflections of Purple Sun, marks a significant return to their roots while paying homage to the iconic figure of Polish jazz, Tomasz Stanko. Stanko's album, Purple Sun, recorded fifty years ago, heavily emphasized rhythm, serving as the central element of his work. EABS' interpretation of this landmark album is a profound study in rhythm, aptly reflected in the title. Recorded in Stanko's former residence in Warsaw, where his presence still lingers palpably, the album captures the essence of his musical legacy. The band's meticulous attention to detail is evident, from Marek Pedziwiatr's use of Stanko's piano to Jakub Kurek's selection of Stanko's last trumpet, the Monette XLT+. This instrument, chosen for its lively and spacious sound, perfectly encapsulates the spirit of Stanko's artistic vision. Astigmatic Records' comprehensive booklet accompanying the record provides further insight into the album's creation, while the cover art pays homage to Pia Burri's original concept. Overall, Reflections of Purple Sun is a compelling and evocative journey through the rhythmic landscapes of Polish jazz, honoring Stanko's legacy while forging new paths in musical exploration.
First Movement (Fragmented Suite For Piano & Bass) (4:47)
Second Movement (5:08)
Third Movement (3:35)
Fourth Movement (4:57)
Review: Duke Ellington and bassist Ray Brown deliver a riveting performance in this set of duets, evoking echoes of Ellington's earlier collaborations with Jimmy Blanton. The dynamic interplay between piano and bass creates a lively and engaging atmosphere, reminiscent of the groundbreaking work of Blanton in liberating the string bass as a solo instrument. Featuring the four-part 'Fragmented Suite for Piano and Bass' along with five standards, including Ellington-associated tunes like 'Pitter Panther Patter,' the album showcases Brown's creativity and virtuosity on the Blanton model. The music is delightful and often playful, capturing the essence of Ellington's timeless style. Cut from existing metal parts mastered by Doug Sax and pressed at Quality Record Pressings, this reissue offers superior sound quality.
Review: Newcomers Energy MC2 are exactly the sort of ensemble needed by the supremely funky Soul Junction imprint. The label have done a great job in continuously finding new, raw talent in the soul game, and these dudes know the score. "If You Break It" features the voice of Vincent Bonham, and it's a veritable lovers tune, made for dance floor antics and Saturday night romance, whereas "Other Side Of The Mirror" is more of a soulful abstraction, a gorgeous little ballad led by the delicate, majestic vocals of Arnell Carmichael. Oh, boy...
B-STOCK: Sleeve damaged but otherwise in excellent condition
Que Bandeira (2:28)
Feira Moderna (2:24)
Cartao Postal (1:58)
Olha O Futuro (2:59)
De Tanto Amor (2:59)
Esperar Pra Ver (2:08)
Tema De Adao (3:17)
So Quero (2:09)
Rico Sem Dinheiro (2:12)
Encontro (2:35)
Por Mera Coincidencia (2:21)
Onze E Quinze (2:04)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
On Cartao Postal, Evinha offers a deep, evocative collection of tracks that manage to both mesmerize and transport. The Sao Paulo-born singer weaves in elements of MPB, samba, and bossa nova with a natural ease, the rhythms flowing like a gentle tide. Her voice feels at home in every corner of the record, whether exploring soulful melodies or swaying in more jazzy moments. The understated orchestration brings warmth without overwhelming, keeping Evinha's storytelling centre stage. This is a release where every note feels purposeful, quietly drawing you into its layered beauty.
Review: Prepare to be wowed by this reissue of a classic Roberta Flack album. It is one that is now 50+ years old so comes on special clear vinyl. It topped the charts in 1972, some three years after it was actually released in 1969. Of course, it is best known for the tune 'The First Time Ever I Saw Your Face' which was in Clint Eastwood's movie 'Play Misty for Me'. It went on to stay at number one for six weeks and then won the Grammyr Award for Record of the Year in 1973. Allegedly the record only took 10 hours to complete in its entirety, and what a record it is.
Review: The vast and ongoing Blue Note reissue series continues apace her with organist Ronnie Foster's Two Headed Freep album. Foster was a master collaborator who worked with everyone from George Benson to the Jacksons to Stevie Wonder (an in fact played the keys on Songs In The Key Of Life.) But it was his work on Grant Green's funky live LP Alive! in 1970 that caught the attention of the Blue Note boss who tapped him up for this label debut two years later. It is a vibrant seton tunes with five originals as well as covers of the likes of Al Green. Kevin Gray has mastered it from the original tapes and it has been pressed on 180g vinyl at Optimal.
Review: Free Nationals released their debut album back in 2018. The LA-formed R&B collective comprised of Jose Rios, Ron "T.Nava" Avant, Kelsey Gonzales and Callum Connor are best known as being the backing band for Anderson .Paak but also make grooves just as tight on their own. This debut was packed with top guests such as .Paak himself as well as Mac Miller and Kali Uchis and it was nominated for Best Progressive R&B Album at the 63rd Annual Grammy Awards. It mixes up classic R&B with twists of funk and soul greats like Stevie Wonder.
Review: Five years on from their debut collaborative EP 'Frisina Meets Toco', modern Brasilian dance artists Gerardo Frisina and Toco return for a second faceoff, this time with liaising artist Luzia Dvorek serving as ringmaster. Centring on samba-infused jazz and deep house with mystical and folk influences, "deixa passar" translates from Portuguese to "let it pass", though the mood is certainly not outright passive. This delectably quartered slice of carnivalesque dance music is rather rich in sonic papaya juice, charting sustained vocal contrasts between Toco and Luzia against smoky and furnaced beats. Aperient track 'Deixa Passar' leans heaviest on languid piano, whilst dozier mists emerge on the B-side in the form of 'Ile' and its rework by Gerardo Frisina, bringing pan flutes, strings, breathy vocal counterpoints, cabasa shaker, and subtle bass undercurrents.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Abandon (3:55)
Naked To The Light (4:14)
Late Night Drive (4:43)
Sick Eros (4:07)
Belleville (2:21)
Sweat, Tears Or The Sea (2:42)
Atlas (6:45)
Reading The Air (5:30)
You Burn Me (1:12)
Earthbound (4:08)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The fourth ever solo studio album from the acclaimed electronic artist and composer Laurel Halo, Atlas is intended to guide the listener through their own subconscious mind, coming as an intense sequence of soaring ambiences and beatless jazz montages. Finding its footing in instrumental improvisation by Halo herself, plus featuring artists Coby Sey, James Underwood and Lucy Railton - and then blowing any assumptive connotation with jazz out of the park with its subtly effected vocal processing and electronic tinkerings and washes thereafter - fans can be sure that this is not going to be your stock experimental affair.
Review: Mathew Halsall's Manchester-based Gondwana label reaches out to Hanakiv, a young composer and musician from Estonia who is now based in London. She has a sound couched in meditative piano but with influences from experimental, classical and her own cultural heritage. She has formally studied composition and has a real love of nature as well as mavericks like Aphex Twin, all of which come out in these challenging but ultimately rewarding sounds. They are often both soothing and cathartic yet edgy and inventive in the way the chords are paired with busy wind sounds, shimmering vocals and tense melodies.
Review: A couple of years ago, Super Disco Edits released the debut single from Buddy Hank & The Shine Band, East Orange New Jersey-based band who were briefly active in the early 1980s. Here they go one step further, delivering a first full-length full of tracks recorded way back in 1981. Immaculately mastered from the original studio tapes, "Dust To Diamonds" is as good a boogie-era album as you're likely to hear. Rich in slap bass, soulful vocals, good-time grooves, jazz-funk flourishes and colourful synthesizer lines, the eight tracks flit between sugary warmth and effervescent dancefloor heat. In other words, this is genuine buried treasure for DJs who take disco and boogie seriously.
B-STOCK: A few dents in the sleeve but otherwise in excellent condition
Voices Inside (Everything Is Everything)
Je Vous Aime (I Love You)
I Believe To My Soul
Misty
Sugar Lee
Tryin' Times
Thank You Master (For My Soul)
The Ghetto
To Be Young, Gifted & Black
Review: ***B-STOCK: A few dents in the sleeve but otherwise in excellent condition***
Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.
Review: Joe Henderson's synergistic 1973 sax record first came to Milestone Records amid the musician's long and storied fusion-crossing-into-free-jazz period. With a Warholian front cover and a punch-packing cast of talents behind him - from Larry Willis to James Blood Ulmer to Dave Holland to Jack DeJohnette - this is indeed a milestone, charging terminals of funk, blue jazz and Afrobeat, and crossing into both the spiritual and the atonal. Mid-record high-point 'Song For Sinners' almost certainly takes after Sun Ra with its trembling saxophones above a distended groove, while 'Turned Around' is a lot freer and easygoing and yet far more determined in the rhythm section.
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