Review: Although best known as the lead singer of well-regarded Japanese funk-soul band O.A.S.B, Amy Akaoka has long dreamed up recording a salsa album in the style of '60s and '70s pianist and bandleader Larry Harlow. This tasty two-track 7" single is her first release in the style - the album will appear later in the year - and is as summery, breezy and life affirming as you'd expect. She begins with "Tu Jamas", where male backing vocals, jaunty pianos and her own passionate lead vocal ride a sweat-soaked salsa rhythm. Turn to the B-side for the horn-heavy delight that is breezy salsa shuffler "Solo Tu Amor". Naturally, both are hugely authentic to the style of salsa championed by Harlow.
The Devil Made Me Do It (The Invisible Cosmic Echoes version) (4:51)
The Devil Made Me Do It (The Invisible Astral Wave version) (4:30)
Review: Like many drummers, Alex Puddu has long been inspired by the work of Tony Allen. He pays tribute to the legendary Nigerian sticks-man on "The Devil Made Me Do It", a sumptuous dose of groovy downtempo Afrobeat laden with Allen-style polyrhythms, Africa '70 horns and lashings of eyes-closed electric piano solos. On the flip you'll find two different interpretations from Puddu. The first, subtitled "The Invisible Cosmic", doffs a cap to the Afro-cosmic world of Daniele Baldelli while retaining much of the warmth and musicality of the original mix. "The Invisible Astral" version is an altogether more spaced-out dub, with Puddu smothering the drums and horns in copious amounts of tape echo.
Review: "Der Say Ah" has long been a banger on dance floors tuned into international sounds. It's the sort of bouncy afrobeat and sax-laced classic that has been fetching huge amounts online. DJs like Gilles Peterson and Nightmare on Wax have been playing it for yonks and now, after many years of it being out of print, it is back courtesy of Push The Fader. The Akoya Re-Rub mix here was mixed by Ben Kane who worked on D'Angelo's Black Messiah, so this sounds beyond good. The 7" version comes from DJ Spinna with extra keys from Ticklah, psyched out bass and extra dub feelings.
Review: German imprint Pingipung has been doing a great job in re-introducing the world to the music of Umeko Ando, a Japanese folk singer who spent decades championing her native Ainu culture before passing away in 2004. Pingipung has already reissued her rare debut album, 2000's "Ihunke", and here gives a deserved first single release to that set's closing track, "Atuy So Kata". Her beautiful and haunting original version - all handclaps, traditional instrumentation and her sublime vocals - nestles on the A-side, with Patric Catani's remix on the flip. His version is drowsy, foreboding and fuzzy, with the remixer expertly mixing Ando's vocals and instrumentation with crunchy electronic drums, psych-rock guitars and all manner of out-there noises.
Review: The Mushi 45 label doesn't release all that much, but what it does put out is invariably insanely good. For the avoidance of doubt, this two-track missive sits in that category. It serves up two rare, sought-after 1970s gems from Rinsyoe Kida, Akira Ishikawa & Count Buffaloes, who made some of the tidiest Japanese funk, jazz-rock and jazz-funk of the period. A-side "Tan To Setsu" is superb, with the assembled players brilliantly blending traditional Japanese style melodic motifs - played on traditional instruments - with a riotous, high octane funk backing track rich in heavy bass and fiery horn lines. "Jongara Bushi" is similarly inclined and every bit as raucous.
Review: Exploring the sounds emanating from South Asia, Masaala is a new label with a fresh outlook. The first release features Manchester-based producers Raheel Khan and Adesi turning in some powerful edits that will appeal to anyone seeking invigorating sounds from further afield. Khan's twist on "Mast Qalandar" sounds like a striking version of Nusrat Fateh Ali Khan's "Mustt Mustt". Adesi offers up the lions share of the edits though, channeling South Asian sounds through grooves ranging from the fierce disco stomp of "Sansani" to the low slung funk groove of "Nah Nah Nah". "Kammata" has a more dense rhythmic complexity at its heart, and "Kuchi Kuchi" collides traditional sounds with contemporary broken beat to brilliant effect.
Review: Copies of Francisco Aguabella's 1977 album "Hitting Hard" are not only extremely hard to come by, but also suitably pricey when they do come up for sale online. Fret not - Dynamite Cuts are here to help. They've decided to reissue two of the Afro-Cuban jazz/funk fusion set's most potent track, thus saving us the need to fork out the best part of 800 pounds. A-side "Ramon's Desire" - a cover of a Ramon Robes song - is suitably breezy, jazzy and positive, with glistening guitar and vibraphone solos combining wonderfully with a soulful vocal. Flipside "Casa Fuerte", on the other hand, is an all-action, high-tempo Afro-Cuban jazz dance treat, with high-octane piano solos rising above a Tito Puente style rhythm track.
Review: Destination '77: Nigerian troupe The Apostles lay down their third album Banko Woman. And, with it, this widescreen vibe excursion that's been a go-to for Afrobeat diggers since it was released on Love Day 40 years ago. "Banko Woman" is a firing, energetic funk jam layered with vibrant levels of instrumentation that gradually strip back at points to let you feel the raw tempo of the groove. "Faith Luck & Music" is at once both more bluesy, thanks to the sliding, melting guitars, and spiritual, thanks to the traditional rhythm and chords. A rare and long-awaited reissue.
Review: Altin Gun are the hottest property to come out of Istanbul in the last ten years. Fact. Led by Jacco Gardner, the 7-piece outfit specialise in the deepest, most wild-eyed psych funk available at the moment and this was clearly visible from their recent debut LP, On. A similar narrative continues here, one which resonates so well with the traditional sound of 70s Turku-funk from pioneers such as Erkin Koray or Baris Manco, and there is, quite simply, something very honest about this band. O this new 7" from the banging Bongo Joe we have "Tatli Dile Guler Yuze", a seductive vocal groove filled with aptly trippy guitar funk and Merve Dasdemir's sublime voice waving in the distance, and the quirky sounds of the instrumental cut "Hababam" - making this one of Bongo Joe's best EPs to date, and another proof-point for Altin Gun's quality. Highly recommended.
Review: Awesome Tapes From Africa surely scored one of the best reissues this year with the vinyl and CD edition of Obaa Sima, a quite startling album from Ghanaian musician Ata Kak that covered highlife, rap, pop, and more. The fact the discovery of the original tape was ATFA founder's Brian Shimkovitz original reason for starting the label made it all the more special. With copies of that album no longer in press, Awesome Tapes From Africa have tempered demand with a series of 12" releases featuring cuts from Obaa Sima. Here the title track makes the transition, pressed nice and loud at 45rpm (do try it at 33 too for a different vibe), whilst the slower electro funk-edged bliss of "Adagya" lines the B-side.
Review: Another weighty slab of Ethiopian music history from Mr Bongo... First up is the hugely influential fusionist Mulatu Astatke with the Latin-meets-Afro jam "Assiyo Bellema". Loaded with frenetic guitars and mesmerising drum work from Frank Holder, this was actually recorded during Mulatu's time in London. Flip for an equally influential force in Ethiopian music: Soul Ekos Band affiliate Teshome Meteku with a more traditional local sound, Teshome's yearning insistent vocals wrap around the horns and tight drums like fog around a mountain. Captivating.
Review: Afro 45's / Mr Bongo show no signs of stopping their tireless run of form and, 7" after 7", they just keep on producing the goods. There's yet more '70s goodness with this new little scorcher: the A-side is 1973's "Tessassategn Eko" by Bahta Gebre Hiwot, a pensive Ethiopian pop hit for all sorts of music fans to enjoy, but "Ayalqem Tedqem" by Alemayehu Eshete on the B-side is where it's at... just listen to that bass and you'll instantly recognize this wonderful little cover.
Review: The UK's Mr Bongo has been reissuing old music and putting out new tunes since the late 1980's, and the label is still going strong in 2015. This latest 7" features two of Ethiopia's greatest musicians, Alemayehu Eshete and Mahmoud Ahmed, in a head to head, split EP. On the A-side, Mr Bongo has resurfaced Eshete's "Tchero Adari Negn", a supremely funky piece with the man's own voice gliding effortlessly over hard drums and fuzy guitar riffs; "Bemim Sebeb Litlash" goes deeper and more psychedelic on the flip, and Ahmed's voice is a pleasure as always. Check their other material on Mississippi for a broader introspective.
Review: Comprised of Uhuru Dance Band members Ebo Taylor and Gyedu-Blay Ambolley, The Apagya Showband only delivered a handful of releases but they're all worth digging out. Mr Bongo have started the excavation with these two 1974 vintage licks; "Tamfo" is concentrated uplift with big horns and an unescapable highlife guitar lick. "Mumude" is a deeper, drum-heavy jam that switches suddenly with the help of big organ splashes and sermonised spoken word.
Review: It would be fair to say that the Afro-Cuban All Stars are Cuba's most important contemporary musicians. Their leader, Juan de Marcos Gonzalez, has been a pioneering figure for decades and his work with the likes of the Buena Vista Social Club has officially solidified his position as the guiding voice of Afro-Latin music. World Circuit has decided to reissue the band's debut album from 1997, A Toda Cuba Le Gusta, and it's no surprise given just how iconic it remains to this day. If you're a fan of rhythmic jazz with a Caribbean twist then this is the right material for you. If you're a record collector whose into the spicier end of the jazz scale then this is unmissable. Whoever youre, you're bound to enjoy this marvelous collection of tracks.
Review: These days, Mulatu Astatke is widely considered to be the "Godfather of Ethiopian jazz". Yet when he recorded the two-part "Afro-Latin Soul" album in 1966, he'd just left music college in Boston. As this fine reissue proves, Astatke was years ahead of the game. While rooted in American jazz from the period, all tracks draw heavily on Cuban jazz, in particular, as well as Ethiopian musical traditions. In truth, the latter aspect doesn't come through quite as strongly as you'd perhaps expect, though some of the album's highlights - the brilliant "Soul Power" in particular - draw more heavily on the percussive polyrhythms of Africa. Regardless, this is a superb set of forward-thinking global jazz that delivers high quality entertainment from start to finish.
Review: These days, Mulatu Astatke is widely considered to be the "Godfather of Ethiopian jazz". Yet when he recorded the two-part "Afro-Latin Soul" album in 1966, he'd just left music college in Boston. As this fine reissue proves, Astatke was years ahead of the game. While rooted in American jazz from the period, all 19 tracks (both albums have been compiled on to a single disc for this edition) draw heavily on Cuban jazz, in particular, as well as Ethiopian musical traditions. In truth, the latter aspect doesn't come through quite as strongly as you'd perhaps expect, though some of the album's highlights - the brilliant "Soul Power" in particular - draw more heavily on the percussive polyrhythms of Africa. Regardless, this is a superb set of forward-thinking global jazz that delivers high quality entertainment from start to finish.
Review: These days, Mulatu Astatke is widely considered to be the "Godfather of Ethiopian jazz". Yet when he recorded the two-part "Afro-Latin Soul" album in 1966, he'd just left music college in Boston. As this fine reissue proves, Astatke was years ahead of the game. While rooted in American jazz from the period, all tracks draw heavily on Cuban jazz, in particular, as well as Ethiopian musical traditions. In truth, the latter aspect doesn't come through quite as strongly as you'd perhaps expect, though some of the album's highlights draw more heavily on the percussive polyrhythms of Africa. Regardless, this is a superb set of forward-thinking global jazz that delivers high quality entertainment from start to finish.
Room Enough For Us (feat Ray Lugo - Terrificos mix)
Review: The Alma Afrobeat Ensemble is a ten-piece outfit from Barcelona created, in part, to pay tribute to the pioneering work of Fela Kuti and Tony Allen, amongst others. It's Time is their third full-length, and comprises both new material, and fresh remixes of previous work. In the former category, you'll find the thrilling, horn-heavy brilliance of "It's Time", and the slower, organ rich thrills of "Lost". As fine as these tracks are, it's the dancefloor-ready reworks that arguably hit home hardest. Highlights include DJ Quiet's low-slung, broken beat influenced interpretation of "DWB Breakdown", Los Kalakos killer dub rework of "Lost", and the subtle Afro-house infusions of Terrificos' remix of "Room Enough For Us