Back catalogue: Jazz

Review: We're big fans of these educational 7"s that often crop up, with a legendary hip hop jam on one side and the source of some its samples appearing on the flip. This time out we get A Tribe Called Quest's deep cut 'Sucka N***a' - which is taken from their legendary Midnight Marauders album - with its buttery rhymes and funky bass buried deep within. Jack Wilkins's 'Red Clay' on the flip isn't that much of a deviation. Though it's slower and free from the rhymes, it is a brilliantly effective and emotive cut. More like this please.

Review: Neil Anderson's Original Gravity loves to look back and revive forgotten classics and that is what it does again here with a quick reissue of something it dropped back in March. This time out it is two more massive slices of tasty Latin funk getting served up. The first is Abram & Nestor's 'Four Minutes Of Funk' which is indeed four minutes of funk that will unite dancefloors from here to eternity with its big organ magic. Nestor Alvarez' 'El Trombonista' is as you might guess denied by its big trombone and also boasts some great horn work. Do not sleep.

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: Measured Mile records puts two classy soul tracks onto the same 7". Originally released in 1974, Act 1 - 'It's The Same Old Story' is often looked over classic of the era. Act 1 hailed from Detroit and featured Raeford Gerald, Roger Terry, Reggie Ross and George Barker. The band had two minor hits but often people recall 'It's The Same Old Story' as their favorite of their only full album. Ivano Fossati's 'Night Of The Wolf' is found on the B-side. A jam song that verges slightly into Latin music, asks for quite a sum of money for its original copy. Both tracks add up to a real gem of a 7".

Review: Bernard "Pretty" Purdie and his Playboys were an iconic funk group of the late 70s who had big hits with the likes of Gil Scott Heron on his seminal 'The Revolution Will Not Be Televised' single. A year later on the same label, Flying Dutchman, they served up the 'Heavy Soul Slinger' single which gets reissued here. It's driven by big drum breaks and funky hits, with plenty of lush chords and rolling basslines all taking you on a high class and sophisticated trip. On the a-side is Harold Alexander 's 'Mama Soul' from the same era, but with a much more experimental sound rooted in wordless ad libs and frantic flutes.

Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.

Review: Original Gravity's very own identity-invention Nestor Alvarez returns with yet another two new and hot Latin funk productions. 'Plata O Plomo' takes its namesake from an old Spanish adage, literally translating to English to mean "silver or lead", implying that the recipient of the phrase must either accept a bribe or lose their life. In keeping with this heavy-handed theme, the track is punchy and surface-tense as a bullet yet to exit the barrel. Meanwhile, 'Reality For Nuttin' gets at an equally nihilistic and existential theme, all while finding joy in the conundrum of life with huge rhythm guitars and pop-out pianos and brasses.

Review: Astral Quartet was a group that changed their name and evolved into Centre El Muusa. They never played live nut managed to record just two tunes back in 2018. Now, five years later, they finally get to see the light of day. They could be 50 years old such is the quality of the musicianship - fusions of jazz and funk that brim with character. The band is made up of Monika Erdman, Rauno Vaher, Volodja Brodsky and Misha Panfilov who mix up cosmic Wurlitzer sounds, languorous synths and fresh drums, turning it into something laidback and psyched on the b-side and more funky and up-beat on the a-side.

Review: Heavy Jazz returns with Ellis Island, their latest instrumental offering following the success of 'Indian Rope Man'. This new release highlights Brian Auger's signature jazz prowess, delivering another intricate and powerful workout. The flip side honours the late Zoot Money with the first-ever 7" release of 'George Bruno Money'. This limited edition comes in a carefully designed sleeve featuring foldout flaps and a cutaway rear. It's an essential piece for jazz lovers and collectors alike, brimming with soulful rhythms and nostalgic nods to jazz legends.

Review: Roy Ayers staked a bold claim by flaunting the fact that he had 'Reach[ed] The Highest Pleasure' back in June '77. Unfortunately for us back then, this lifetime hedonistic milestone - documented in instrumental funk form - was shelved for reasons unknown beyond simple artistic oversight. As said, this slick solo instrumental for drums, bass and vibraphone is a perfect soul-jazz, chillout trifecta, one for the rarities collectors.

Review: With both tracks now coming out for the first time on 7" vinyl, the 'Liquid Love' and 'What's The T?' 7" single is a must get for all Roy Ayers fans and serious music collectors, not least as 2023 witnesses Roy's final ever tour of live dates. This release is a fitting tribute to the career of one of the most influential musicians in global Black music history and each track represents his virtuosity as a vibesman and his versatility across genres. 'Liquid Love' is taken from the 2015 BBE released album of Roy's unreleased material, Virgin Ubiquity II and is a wicked mid-tempo track where Roy's vibraphone complements an amazing female vocal arrangement to create harmonies and melody over a tough-as-you-like breakbeat, bassline and keyboard riff.

Review: A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.

Review: Legendary Brazilian jazz-funk trio Azymuth drop their latest record 'Arabuta', pointing themselves in a new cardinal direction in sound. The limited 7" brings two new mix version of their recently released 'Arabuta' to the fold, both by fellow producer and Azymuth collaborator Daniel Maunick. Part-dancefloor, part-dub, both versions bring preservative tones, fully circling the resinous Brazilwood tree after which the track is named. The Tupi Guarani word for the endangered tree fuses with deft unperturbed jazz licks, despite the sense of urgency in saving the species, underscoring Azymuth's fusion of timeless Brazilian jazz-funk and cosmic futurism. In more ways than one, this record serves as a symbol of both the value and fragility of Brazil's natural beauty.

Review: They're best known for covering hip-hop classics in their unique, funk band plus steel pans vibe, but Germany's Bacao Rhythm & Steel Band show there are spookier arrows in their quiver when the time of year demands it. Two special halloween themed cover versions grace this 7", the first a rendition of the theme from TV show of the moment 'Stranger Things', the second their version of the title theme from the film 'Halloween', originally penned by the master soundtrack maker himself John Carpenter. Both have a slightly cheeky, quirky and rather joyful atmosphere, tending more towards the cute rather than the spooky side of all hallows, but don't let their lack of scariness put you off, they're both delightful.010920

Review: The Bacao Rhythm & Steel Band has become the latest jewel in the Big Crown. Lead by Bjorn Wagner, they have stopped several essential recordings not he label, all defined by their famous steel pan sound. Often they turn to covers of the classics such as they did back in March and this time around they take aim at the much loved and low slung hip-hop classic 'Nuthin' But A G Thang' by Dr Dre. In their hands it becomes something else entirely but still delightfully low slung and sleazy. This one is backed with 'How We Do' which is another loveably fresh sound.

Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: These two tracks from Mike Bandoni and Chip Wickham have been a long time coming. The two stablemates from the 'Craig Charles Fantasy Funk Band' have been discussing a collaboration for years and now; and it's finally in the bag! Mike brings his trademark killer funky drums (recorded by the legendary Malcolm Catto), percussion, Rhodes, bass and vintage guitar vibes to the party, whilst Chip delivers some sublime and highly complimentary work on sax and flute. 'Infinity Pool' sounds like a long-lost Bobbi Humphrey-meets-Bob James composition, with the flute taking centre stage - underpinned by what can only be described as mammoth funk grooves on every other instrument - while 'Get It!' is a cool number, channelling a phenomenally infectious groove and hook, both of which remain in the brain for days.

Review: Stevie Wonder's 'Pastime Paradise' has thus far been less recognised as an original soul wonderwork, and more so as a sample by American rapper Coolio on the derivative 'Gangster's Paradise'. Though still having been covered by many artists over the years, Major Keys records highlights this enduring 1981 cover of Wonder's 'Paradise' by Latin percussionist Ray Barretto as among their favourites, if not their absolute favourite. Now the label reissue the gem, flaunting its up-to-date, nigh timeless feel; it's the opposite of a miracle that this has never before been released on a 12" single record, despite the fact that it is a favourite on the floors of jazz and soul rooms the world over. It also flips it with Barretto's own 'La Cuna' and 'Mambotango', taken from the same 1981 LP.

Review: Major Keys revisits the jazz-funk classics with Gary Bartz's Music is My Sanctuary, now making its debut on a 12-inch. This 1977 gem, featuring the double Grammy-winning saxophonist, is an evergreen floorfiller, remastered for DJs and vinyl enthusiasts alike. With Syreeta Wright on vocals, Bill Summers and James Mtume on percussion, and arrangements by Larry Mizell, this track assembles top-tier talent. The lyrics are joyful and heartfelt, all anchored by Bartz's glorious saxophone. It's a timeless piece for both the mind and the dance floor. On Side-2, Carnaval De L'Esprit, is a lesser-known but equally brilliant jazz-funk masterpiece. Its sunny vibe lifts even the weariest spirits, cementing Major Keys as a must-have label. This record is a treasure that will be revisited time and again.

Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Number 80 in Mr. Bongo's Brazil.45 series shines a spotlight on two iconic 80s tracks by Brazilian legend Jorge Ben. The A-side features the infectious groove of 'Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De indio)' from the 1981 Dadiva album and paying tribute to Brazil's Indigenous tribes. On the flip, 'Rio Babilonia' delivers a classic Brazilian-boogie vibe that celebrates life in Rio, its beaches and landmarks. Originally released in 1983, the track showcases arrangements by the legendary Lincoln Olivetti.

Review: Here comes a truly show-stopping swooner on Penrose, the sublabel of the ever-trusty Daptone Records. This is the first solo outing for Jensine Benitez, who is usually found singing with Thee Sacred Souls, a hard-gigging outfit who always send the crowd home elated after Benitez takes centre stage. With her bandmates on hand to provide back-up duties, we get treated to a pair of dreamy soul songs that capture a little 50s swing which gels beautifully with Benitez's arresting voice. Both tracks are downtempo lullabies perfect for those intimate, wind-down moments with the one you love. Trust us, this is some seriously romantic stuff.

Review: The Demon Singles Club has been digging deep again and this time they have unearthed a trio of delights from Travis Biggs. Biggs played the keys with Isaac Hayes towards the end of the 70s when Hayes was playing with disco sound. During that same era, Biggs went it alone on a pair synth laced and spaced out albums 1976's Challenge, on TB&C, and 1979's Solar Funk, on MCA subsidiary Source. The trio of cuts on this 12" come from the latter of those two - one of them will be particularly recognisable to J Dilla fans for the famous beatmaker sampled it quite famously.

Review: KC

Review: A new single release from the amazing Betty Black, following her first two releases 'Cry Me A River' and 'Sweet Dreams', both also available on Skyline Recordings. Whereas the first two releases were covers, the label now delivers a wholly original slice of Betty material, 'Lonely Man'. This single-sided soul stomper is a veritable wall of sound, in which Black sings of emotional miserliness, rainy days, bleeding hearts and missed opportunities against a lively backing, making for a sure-to-be hit.

Review: The Blackbyrds' 'Reggins' is an instrumental jazz-funk masterpiece that originally hardly saw the light of day around the time of the group's formation in the early 1970s. The Washington fusion group were initially mentored by trumpeter Donald Byrd, but their sound came to differ from his sultry and slow tones, working in a more melancholic yet upbeat style, and flowery trumepeteering to boot. This 7" comes in stunning new vinyl quality, with unmatchable audiophile sound lent to two of their best instrumentals.

Review: Rhythm, blues and funk outfit The Blackbyrds were formed in Washington, D.C. in 1973, and as we have noted numerous times over at Juno, their music hardly saw the light of day around the time, save for a re-formation in 2012 after renewed interest brought their music back to light. The Washington fusion group were initially mentored by trumpeter Donald Byrd, but their sound came to differ from his sultry and slow tones, working in a more melancholic yet upbeat style, and flowery trumepeteering to boot. This 7" comes in stunning new vinyl quality, showing off a further two lost instrumentals, 'Rock Creek Park' and 'Gut Level'.

Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.

Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.

Review: The reissue of Joao Bosco's 'O Ronco Da Cuica' alongside Antonio Adolfo E A Brazuca's 'Transamazonica' captures a slice of Brazil's musical brilliance. Bosco's track, originally from his 1976 album Galos de Briga, pulses with vibrant cuica rhythms, soulful vocals, and delicate acoustic guitar. On the flip side, Adolfo's 'Transamazonica' is a stunning piece of Brazilian jazz fusion, rich with dynamic instrumentation. This release brings these timeless Brazilian gems to a new audience, reintroducing their infectious grooves and intricate musicianship.

Review: 'Imprevisto' by Bossa Tres and Ana Rosely's 'Skim Dum Dum Dum' receive well-deserved attention in their remastered reissue by Mr Bongo. Bossa Tres's track, featured as the final piece on their 1965 'Em Forma!' LP, stands out as an unmistakable Brazilian jazz classic. Opening with a dramatic intro and a hypnotic piano line, the song evolves with panned percussion and upright bass, showing the band's refined musicality honed from their early days touring jazz clubs in the USA. This 7" release marks a significant reissue of Bossa Tres's sophisticated sound in a concise format. On Side-2, Ana Rosely's 'Skim Dum Dum Dum' from 1984, originally released by RGE Discos, adds a different flavor with its infectious groove and enigmatic charm. Despite limited information about Rosely, her releases have become sought after for their rarity and musical quality. With 'Skim Dum Dum Dum,' her talent shines brightly within the unique style of Brazilian music. This remastered edition with refreshed artwork offers collectors and enthusiasts a chance to rediscover these gems of Brazilian jazz and music history.

Review: We'll never tire of the incredible Brazil45 series on Mr Bongo, which has provided an authoritative window into the rich history of 60s and 70s grooves from South America. Here's a missing joint from the series which took some time to come to fruition - a split release featuring Brazilian Boys on the A side and Rubinho E Mauro Assumpcao on the B. 'Super Herois' is an obscure slice of off-kilter, psych tinged funk from 1975 that has the kind of individual sound which could find favour with a lot of different DJs. 'Tudo Ai' has a more recognisable samba shuffle, but much like the A side there's a subtle twist in the sound which leans towards blues rock and jazz, locking down on the rhythm and creating a low-key party starter in its own unique way.

Review: Dynamite Cuts have got another red hot bit of funk on their hands here with Brian Auger's Oblivion Express the subject of this reissue of two of his most blissed out sounds. The first is a magic cover of Marvin Gaye's timeless 'Inner City Blues' from his most iconic album, What's Going On. In this outfit's hands the groove becomes a little more deep and languid, with funky guitars and steamy vocals sinking you into a real romantic vibe. The second is an original tune, 'Voices Of Other Times,' that explores more uplifting soul vibes.

Review: Gustav Brom's 'Calling Up The Rain' from his 1976 album Gustav Brom Plays for You Pop Jazz and Swing is a dancefloor gem that seamlessly blends big band jazz with a Latin groove, featuring a splendid organ and trumpet solos alongside a screeching guitar solo. Panorama Records' reissue of this track reaffirms the label's commitment to unearthing and reintroducing hidden musical treasures to new audiences. The 45 release of 'Calling Up The Rain' marks the first official reissue of this anthem, promising to ignite the enthusiasm of long time fans and those who dig for special new records.

Review: Timmion Records presents the debut 7" vinyl single from Bronze, Silver & Brass, an eight-piece brass ensemble making waves with 'Conrad's Lesson' b/w 'Ward to Ward'. This release offers two spectacular tracks showing the group's influences from soulful stage band music to New Orleans street funk. On Side-1 'Conrad's Lesson' features a pulsing midtempo groove, driven by funky drums and mellow horn melodies. On Side-2 'Ward to Ward,' delivers upbeat New Orleans second line funk, brimming with syncopated beats and spirited horn arrangements, capturing the essence of celebration and joy. Inspired by the soulful sounds of the Kashmere Stage Band and Curtis Mayfield, as well as contemporary brass trailblazers like Young Blood Brass Band and Hot 8 Brass Band, Bronze, Silver & Brass blends these influences into a unique and infectious sound. Their debut single invites listeners to celebrate the rich heritage of brass music while keeping it severely funky. Get ready to march to the rhythms of Bronze, Silver & Brass.