Review: Galaxy Sound Company's latest test pressing release features James Brown's 'Give It Up Or Turnit A Loose (Edit)' alongside Hampton Hughes' 'Web (Edit)' and is another doozy for edit lovers old and new. Side A of this 44th instalment offers a masterful breakbeat edit from JB's 'In The Jungle Groove' that brings forth the rhythm of Clyde Stubblefield and Bootsy Collins so is perfect for igniting a party. On the flipside, the jazzy grooves of Hughes' 'Web' which has been famously sampled by Hieroglyphics in 'Off the Record' is another floor filler while bonus beats from the A-side round out this essential double.
Theme From Valley Of The Dolls (Master B, take 2) (4:03)
Lonely Girl (Master G take 1) (3:26)
Soul Vibrations (alternate take) (3:49)
Life Has Its Trials (Master C, take 2) (4:56)
Little Sunflower (Master F, take 3) (6:45)
Theme From Valley Of The Dolls (Master B, take 6) (3:53)
Review: The album effortlessly merges 1960s cool with classical music elements, creating a distinctive and original sound. What stands out most is the harp's role as the lead instrument, bringing a fresh, mystical dimension to the jazz genre that is rarely heard in traditional quartets or duos. Throughout the record, Ashby demonstrates the harp's versatility in evoking different moods. In her rendition of Freddie Hubbard's 'Little Sunflower,' the harp replaces the trumpet's warmth and power with a cool, elegant touch that transforms the piece. Ashby's intricate harp work introduces new harmonies and thematic elements, particularly on the track 'Games,' where the rhythm section's pulsating beat allows the harp's melody to take center stage. Afro-Harping is a hidden gem, encapsulating the essence of 1960s jazz with a nod to Afrofuturism and innovation. The fact that this groundbreaking album is led by a woman, especially in a genre where women often take on vocal roles, adds to its significance. This album is highly recommended for both seasoned jazz enthusiasts and newcomers - a gateway to Ashby's remarkable discography.
Review: Donald Byrd's Kofi, part of the esteemed Tone Poet Vinyl Series, presents a compelling snapshot of the trumpeter's transition from hard bop to fusion. Recorded in December 1969 and December 1970 but only released in 1995, this LP captures Byrd at a pivotal moment in his career, straddling the line between traditional jazz and the emerging fusion genre. The 1969 session features Byrd's originals 'Kofi' and 'Fufu,' with Duke Pearson's electric piano adding a shimmering layer to the complex arrangements. The ensemble includes notable musicians such as Lew Tabackin on flute and tenor saxophone, Frank Foster on tenor saxophone, William Campbell on trombone, Ron Carter on acoustic bass among other strong musicians. The 1970 session continues this exploration with tracks like 'Perpetual Love' and 'Elmina,' featuring Wally Richardson on guitar and Mickey Roker on drums, along with Moreira and Dom Um Romao adding percussion. This reissue, curated by Joe Harley and mastered by Kevin Gray from the original analog tapes, is pressed on 180g vinyl and housed in a deluxe tip-on jacket. The Tone Poet Series ensures exceptional quality in both sound and presentation, offering a definitive version of Byrd's adventurous work.
Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves. Jazz Roomn Records now release his cover-remix of the underground club classic 'Hibaros', originally by B&G Rhythm (Donny Beck & Steve Gutierrez, featuring Bobby Lyle). Several unusual time signatures modulate across its A-sided, dancey groove - don't be fooled, things need not settle into a 4/4 repetition to be worthy of a ball - whilst B-sider 'Something Special' lets things slack a little more, letting several, live-recorded drum loops rest on top of one another, while a sort of glockenspiel/celeste-esque instrument tinkles over the top. Something special indeed.
Review: The newly issued and remastered Movement by The Joe Harriott Quintet revisits one of the most innovative jazz albums of the 1960s. Originally released in 1963, it's a stunning work that showcases Harriott's pioneering work in "free form" jazz as he blends Caribbean influences with avant-garde improvisation. Harriott, alongside his stellar quintet which includes trumpeter Shake Keane and pianist Pat Smythe explores experimental yet accessible compositions to create an engaging balance between structured melodies and freeform expression. This edition enhances the album's clarity and offers a fresh chance to take in its bold, genre-defying sounds, which means it remains a must-listen for jazz aficionados jay also reaffirms Harriott's legacy as a British jazz innovator.
Review: Wewantsounds has put together a re-release of the late, great Ryuichi Sakamoto's classic album Coda, which was originally issued in his native Japan in 1983. This album is a solo piano rendition of the seminal Merry Christmas Mr. Lawrence soundtrack and has never been available outside Japan until now. It finds legendary composer Sakamoto perform acoustic piano interpretations of his iconic themes including the classic title track and 'Germination,' which later featured in the Call Me By Your Name soundtrack. Remastered by Seigen Ono's Saidera Mastering studio in Tokyo, this reissue includes the original artwork and a four page insert with new liner notes by Andy Beta.
Review: Romero Bros deliver a vibrant double-feature with Samba De Flora Parts 1 & 2, a limited 7" release on Echo Chamber Recordings. This dynamic single ventures into broken beat and nu jazz territories with flair. Side-1 presents 'Samba De Flora' (part 1), a lively track characterised by its tribal rhythms, prominent piano lines, and infectious Latin house influences. This reminds us a lot of Ian Pooley's energetic style from the Since Then album. Side-2 features 'Samba De Flora' (part 2), offering a more subdued take. This version highlights instrumental elements with a refined approach, creating a nuanced soundscape that complements its energetic counterpart. Both versions make this a versatile and enjoyable little 7".
Review: ATA Records, camped out in Leeds, formed in 2014 by Neil Innes in a formerly disused garage on the outskirts of town. Described as an "Aladdin's Cave of vintage 1960s recording equipment", we've little intel on how exactly Innes chanced upon ownership of such a stockpile, but what we do know is that he soon set about recording these songs exclusively to 2" tape, and using mid-century recording techniques to yield that ever-so-knowable vintage crunch, so native to 60s and 70s funk, soul and soundtrack music. Perhaps a somewhat fictive alias, Kaunas Baltic Connect and the Sorcerers are two such tributary acts to the library archives of yore (KPM, Cavendish, Burton, etc.), and here they lay down 'Baby, I Don't Care' and 'Kaunas Baltic Connect', two fervent fracases packing riffy synth leads and seat-edge strings, nodding to the "brooding menace of Poliziotteschi and Euro-crime movies".
Review: Pharoah Sanders' Wisdom Through Music stands as a testament to his exploratory spirit in the jazz world, recorded in 1972 and released a year later by Impulse! Featuring a stellar ensemble including flutist James Branch, pianist Joe Bonner, and bassist Cecil McBee, the album brings together some of the most innovative players of the time. The production by Lee Young, brother of the legendary Lester Young, frames Sanders' vision with a spiritual and deeply rhythmic soundscape. The track 'High Life' captures the essence of West African musical tradition, combining ecstatic drumming with vibrant flute work, creating an atmosphere of joyous celebration. 'Love Is Everywhere', a staple of Sanders' live performances, radiates raw emotion and soul, with Sanders leading the charge before allowing Bonner and the rest of the ensemble to take the song to new heights. The album is a powerful snapshot of Sanders' 70s output, showcasing his ability to blend spiritual jazz with global influences, making it a vital piece of his extensive discography.
Review: Elemental Music's latest release brings a long-awaited reissue of Pharoah Sanders' 1973 album Village of the Pharoahs, finally available on vinyl after decades. This record stands as one of Sanders' most groundbreaking works, blending spiritual jazz with free improvisation. The album is a masterclass in musical exploration, featuring a stellar lineup including Joe Bonner, Cecil McBee, and Stanley Clarke. Side-1 launches with the pulsating title track, a three-part suite that immerses listeners in complex rhythms and modal saxophone lines. Side-2 continues with the ethereal 'Mansion Worlds,' before shifting into the balladic 'Memories of Lee Morgan,' and concluding with the lively 'Went Like It Came,' a surprising, foot-tapping closer. Considered one of his best releases by the majority, this listen is ideal for both seasoned jazz lovers and those new to the genre.
Review: London-born Ashley Henry returns with his latest project, Who We Are via Naive Records. This new release highlights Henry's distinctive approach to music, blending introspective self-expression with vibrant jazz influences. Who We Are is a rich blend of sound where Henry's ethereal falsetto meets lush piano melodies and rhythmic percussion. His self-produced compositions create an inviting sonic space that highlights his introspective lyrics and deep-rooted self-assurance. The album reflects Henry's journey through self-discovery and collective empowerment, urging listeners to value each other's dreams and find inspiration within their communities. Henry's music draws from his London upbringing and Jamaican heritage, combining classical training with the profound influences of Black radical traditions. Inspired by icons such as James Baldwin, Angela Davis, Ahmed Jamal and George Benson, Henry's work resonates with both historical depth and contemporary relevance.
Review: The reissue of Booker Little 4 & Max Roach as part of the Tone Poet Vinyl Series is an exciting announcement for jazz fans. Booker Little, a brilliant trumpeter whose life was tragically cut short at 23, left an indelible mark on the jazz world. This 1958 album, recorded when Little was just 20, showcases his extraordinary talent both as a musician and composer. The LP features the dynamic interplay between Little and Max Roach, one of jazz's most influential drummers, along with George Coleman on tenor sax, Tommy Flanagan on piano and Art Davis on bass. It opens with a spirited rendition of Miles Davis' 'Milestones', setting the tone for the session, before the standards 'Sweet and Lovely' and 'Moonlight Becomes You' are given fresh interpretations. But the heart of the album lies in Little's original compositions: 'Rounder's Mood,' 'Dungeon Waltz,' and 'Jewel's Tempo.' These tracks highlight his inventive melodic sense and technical strength. The Tone Poet Series ensures an audiophile-quality experience, with meticulous mastering by Kevin Gray and a deluxe presentation that lives up to the highest standards.
Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.
Review: German sextet "SOUND" recorded a standout set in Frankfurt in 1978, immortalised on the LP "Jazzlife" at Night (Vol.1). Singled out was their composition 'Sound Spirit,' a dancey, post-bop jazz track where Volker Burkhardt's tenorsax soulfully wails in a Coltrane fashion over Werner Bauer' syncopated keys and Heli Kneipp's and Athur Greaves' driving percussion and drumming, intertwined with Jann Meyer's funky bass. All culminate in this super groovy contrapuntal track that often takes you nicely by surprise. Now this seminal piece arrives in a limited edition 7" of 300 on Tramp Records, the small but significant home of some of Germany's best reissued funk, soul and jazz on vinyl. Nat Adderly's 'Sweet Emma' was one of "SOUND's" other distinctive tracks that night, and it too resurfaces on the B side. This upbeat version may teeter on a 'trad' jazz precipice, but as the saxophone takes the cornet parts of the original, its tonality draws the listener in. These tracks already command attention from the discerning contemporary jazz community, and now again available is a must for those who like both upbeat or downtempo late 70s jazz.
Review: American jazz pianist Gene Harris first released 'Losalamitoslatinfunklovesong' and its counterpart 'Summer' in 1974, when both initially appeared on the classic soul jazz album Astral Signal. Thereafter, it enjoyed a second bout of popularity after being picked up by the trailblazing rare groove scene in London. Now for a third: Selector Series now proffer another reissue of this rare groove workout, a Latin funk gem for an age not yet properly recorded or recognised. Snappy, pugilist drums, wowwing synths and filling choral counterpoints make this a real funk treat.
Review: Marcos Valle's extraordinary life is marked by international fame, political upheaval and diverse musical achievements. Rising to fame overnight, he evaded a military dictatorship and the Vietnam War draft, had his music featured on The Simpsons, and became an unexpected fitness icon. With 22 studio albums since 1962, his work spans bossa nova, samba, disco, rock, and more and compositions have been recorded by legends like Frank Sinatra and Sarah Vaughan, and sampled by Jay-Z and Kanye West. Valle's latest album, Tunel Acustico, brings together his eclectic sound with tracks like 'Feels So Good' and 'Life Is What It Is,' reimagined with fresh arrangements and contributions from prominent Brazilian artists. The album also includes a tribute to Burt Bacharach, so what's not to love?
Review: REPRESS ALERT!: You know that long hot days are fast approaching when it is Brazilian music that you crave. Thankfully the Scruniversal has got us covered with a second release that is as scorching as the first. It pairs MPB, samba and Latin flair with hard-edged hip-hop and funk stylings across a pair of tunes from Scruscru, each one a different collaboration. The first is alongside Tony Lavrutz and has gorgeous vocals and organic percussion paired with cut-up beats and jazzy keys that will ignite any floor on 'Rave Du Brazil.' It is Los Protos's jazz funk groover 'Primavera' that gets the good vibes going on the flip.
Review: The University Of California Santa Cruz Chamber Singers is a group from the 70s headed up by Bob Masters that released two cult albums A Birthday Celebration and Voices. Their lush, lavish, soul-enriching sound is a harmonious balm that here on the newly reissued 'Children Of Bahia' gets paired with some Latin-tinged jazz sounds, shuffling samba rhythms, busy Rhodes keys work and plenty of organic percussive layers thanks to Randy Masters and Solar Plexus. 'Torremolinos (Windmills)' is an equally spiritual sound with more prominent flutes and dancing piano chords all energising every fibre of your being.
Review: Kenny Burrell's Midnight Blue, recorded in 1963, stands as one of the finest examples of jazz guitar blended with deep blues. Backed by an impressive lineup including Stanley Turrentine on tenor sax, Major Holley Jr. on bass, Bill English on drums, and Ray Barretto on congas, the album creates a warm, late-night mood. Burrell's originals like 'Chitlins con Carne', 'Midnight Blue' and the beautiful solo guitar piece 'Soul Lament' bring a rich, soulful character to the session. Known for his smooth, understated approach, Burrell fills the record with subtle elegance. Turrentine's big, soulful sax and Barretto's rhythmic congas add layers of texture, making this a truly great listen. The relaxed, intimate atmosphere captured by Rudy Van Gelder's exceptional recording skills allows each instrument to shine, with Burrell's guitar work at the center, delivering warmth and swing with a vintage touch. This edition, all-analog and pressed on 180g vinyl, brings the full depth of the original sound to life.
Review: The Necks' 20th studio album, Bleed, is an unbroken 42-minute composition that delves into the rich, unsettling beauty of stillness. Known for their minimalist jazz, the Australian trio takes their distinctive approach even further here, turning silence and decay into instruments as potent as any piano or drum. Each second feels like a meditation on space, where nothing is rushed, and every shift matters. It's a single composition, yet it feels like an endless expanse of possibilities, each sound lingering in the air before dissolving into the next. Pressed on Indie Exclusive Green Vinyl, Bleed is another masterclass from The Necks, a group that has never been content to rest on past achievements. They stretch the limits of jazz in a way that few other artists could, inviting the listener into a world where stillness isn't an absence but a presence. The sounds feel tactile, almost organic, as if they were born from the earth itself, then slowly decayed. Each listen offers something different, some new texture or note that was missed before, making Bleed a record that grows with you, becoming more complex and rewarding with time. It's minimalist, yes, but not in the cold, distant senseithis is music that pulls you in, demands your attention, and rewards it with an almost spiritual sense of calm.
Review: As reliable as rain on a British summer day, Original Gravity is back with more brilliance from the world of funk here in the form of a pair of different versions of the same original tune, 'Burning Spear', on one heavily limited edition 7".Nestor Alvarez kicks things off with a sunny, Latin-tinged sound that is high on fluttery flute energy with some nice raw drums and dancing keys below. La Machine D'Argent smooths things out just a touch and layers in some more spaced-out sounds to make it a header excursion into funk.
Dark Eyes Smile (feat Ecile McLorin Salvant) (6:01)
Apparition (6:37)
Assembly (interlude) (0:42)
Afterlife Residence Time (8:39)
Moshpit (3:01)
Set! (interlude) (0:31)
If That Blood Runs East (feat Yaw Agyeman, Chris Dave) (2:51)
Your Memory (interlude) (0:47)
Blues Blood (11:02)
Review: Acclaimed saxophonist and composer Immanuel Wilkins's third studio album, Blues Blood, is quite possibly his most expansive yet. Co-produced by Meshell Ndegeocello, the meditative project features his quartet with Micah Thomas on piano, Rick Rosato on bass and Kweku Sumbry on drums alongside vocalists Ganavya, June McDoom, and Yaw Agyeman. Special guests include vocalist Cecile McLorin Salvant, guitarist Marvin Sewell, and drummer Chris Dave. Blues Blood explores ancestral legacies and bloodlines, and the album marks the first time Wilkins has incorporated vocalists into his work with each voice contributing a unique dimension to themes of heritage and connection. That helps to make this a deeply reflective and resonant album.
Review: The Necks return with their latest album Bleed, a single, expansive 42-minute composition that delves into the delicate beauty of decay and space. As one of Australia's most daring and long-standing minimalist-jazz groups, the trioiChris Abrahams on piano, Tony Buck on drums, and Lloyd Swanton on bassicrafts yet another unique piece in their vast body of work. Formed in 1987, The Necks have become known for their extended, improvisational compositions that patiently unravel, building subtle intensity through repeated musical motifs. Bleed is no exception, but the atmosphere they create here feels both familiar and fresh. The album masterfully balances stillness and tension, exploring themes of desolation and transformation with understated elegance. Released to mark the group's 35th anniversary in 2022, Bleed showcases their remarkable ability to evolve while staying true to their distinctive sound. The slow, meditative pace allows each note and texture to breathe, inviting listeners to get lost in its spacious, evolving soundscape. With this release, The Necks continue to push the boundaries of minimalist jazz.
There Are Other Worlds (They Have Not Told You Of) (10:50)
Review: Strut's 2024 reissue of Sun Ra's Lanquidity, an iconic 1978 release, celebrated for its fusion of cosmic jazz and avant-garde experimentation. Recorded in a single night at Bob Blank's studio, the album shows off the rich Arkestra's blend of sound with eight horns, four percussionists, and electric guitars.'There Are Other Worlds (They Have Not Told You Of)' stands out as a hypnotic, dream-like piece that subverts traditional forms with its blend of ambient and vibrant passages. The album is a standout in Ra's extensive catalog for its fusion-inspired, freeform approach. The single LP version includes five tracks, akin to the original. Starting with the smooth, cosmic exploration of 'Lanquidity,' is like a celestial mapping akin to an Ancient Egyptian stargazing ceremony. 'Where Pathways Meet' follows with a funky, march-like rhythm reminiscent of a Pharaoh's pep-talk, showcasing Ra's unique fusion of Egyptian motifs and jazz. The groove deepens with 'That's How I Feel,' featuring reflective trumpet lines and intricate solos. 'Twin Stars Of Thence' highlights Richard Williams' celebrated bass with its funky, elastic rhythm. The album closes with the haunting 'There Are Other Worlds (They Have Not Told You Of),' a piece steeped in space music that poet Mama Nzinga likened to a journey through the essence of light and deep space.
Oh Lord Don't Let Them Drop That Atomic Bomb On Me (5:44)
Eat That Chicken (4:40)
Passions Of A Man (4:54)
Review: Charles Mingus' 1960 album Oh Yeah is a masterful blend of jazz and r&b that offers an inviting entry point for rock listeners. The album's vibrant energy and incorporation of heavy r&b influences make it a standout choice for those new to jazz, sidestepping the often inaccessible nature of traditional jazz presentations. Mingus' approach combines spontaneous jazz improvisation with a rock-friendly drive, evident in tracks like 'Hog Calling Blues.' You can't help but appreciate how Oh Yeah bridges the gap between jazz and rock, noting its dynamic, party-like atmosphere and Mingus' enthusiastic vocalizations. The album's drive and soul-infused style, reminiscent of Duke Ellington but with a modern twist, keep listeners engaged. We praise Oh Yeah for its ability to engage both casual listeners and jazz aficionados alike - the infectious enthusiasm and innovative blend of styles ensure that it remains a wonderful introduction to the genre.
Review: Finnish duo Lampen, consisting of guitarist Kalle Kalima and percussionist/sampler Tatu Ronkko, returns with their second album Halogen, out on We Jazz Records. Straddling the line between Helsinki and Berlin, their sound evokes the meditative expansiveness of acts like Earth and The Necks, yet firmly occupies its own unique territory. Lampen's music is a deep exploration of contemporary jazz, unconstrained by genre, unfolding slowly with a subtle yet undeniable intensity. The duo's compositions build gradually, revealing their power in unexpected, logical eruptions of sound. Their new track, 'Soleil du Sud 2', hints at what the full album offersione of this year's standout releases in Eurojazz. Kalima's guitar work often draws comparisons to Bill Frisell, though his approach can be bolder and more audacious at times, as demonstrated on the album's title track. Yet, moments like 'Buttons' bring Kalima back into more introspective, Frisell-like territory. With Halogen, Lampen continues to expand their sonic palette, blending jazz with elements of electronica and blues-rock. Their organic, free-flowing approach ensures a deeply impactful listening experience.
The Last Of The Past (with The Jazz Inspiration Orchestra) (6:17)
Berlin (with The Jazz Inspiration Orchestra) (6:40)
Solstice Celebrations (with The Crew) (4:33)
Blue Cha Cha Cha (4:17)
Spring Feelings (3:17)
Relaxing Walk (with The Jazz Inspiration Orchestra) (7:08)
Brother WH (with The Crew) (4:59)
Review: Frederic Rabold's career, spanning over six decades, is celebrated in this deluxe double gatefold vinyl LP, which captures the essence of his significant contributions to modern jazz. Born in Paris in 1944, Rabold transitioned from violin to trumpet, influenced early on by his jazz musician father and the vibrant French jazz scene. His formative years included playing alongside his father and later establishing his own band, the Frederic Rabold Crew, in 1968. The Crew gained prominence within the German jazz landscape, leading to performances at major festivals and extensive tours through Eastern Europe. This collection features key tracks from Rabold's extensive discography, including rare recordings and previously unseen photographs. Notable highlights include 'Noon in Tunisia' and the 1970s album 'Flair.' Throughout his career, Rabold collaborated with jazz luminaries like Gunter Hampel and Lester Bowie, reflecting his versatility and deep-rooted passion for modern jazz.
Review: Seun Kuti is set to release his highly anticipated album Heavier Yet (Lays The Crownless Head) with Executive produced by Lenny Kravitz and Fela Kuti's original engineer Sodi Marciszewer, promises to redefine contemporary afrobeat while honoring its roots. The album features six powerful tracks, including collaborations with Damian Marley on 'Dey' and Sampa The Great on 'Emi Aluta.' Each song embodies themes of resistance, resilience, and revolution, addressing societal issues and personal struggles. Seun Kuti describes the project as special, highlighting the support and guidance from Kravitz and Sodi. This album not only showcases Seun's growth as an artist but also his unwavering commitment to social change and empowerment. Heavier Yet (Lays The Crownless Head) is poised to entertain, inspire and ignite a spirit of activism and liberation.
Review: The remastered 7" reissue from Brazil 45s/Mr Bongo features two highly coveted tracks from Quinteto Ternura and their predecessor, Trio Ternura. This pressing revives two rare gems from the past with a fresh, high-quality cut. On Side-1, Quinteto Ternura delivers 'Baby,' a dazzling Brazilian modern soul track penned by Caetano Veloso and arranged by Arthur Verocai. Originally from their 1974 self-titled LP, this song is a smooth blend of tropical bliss and has long been a cherished rarity. Flipping to the Side-2, Trio Ternura's 'Filhos De Zambi' offers an upbeat samba-funk delight. Released in the same year, this track is filled with vibrant energy from the original trio, featuring a catchy chorus and a dynamic key change. Co-written by the siblings' father Umberto Silva and Jose Ribamar, it remains a dancefloor favorite. This reissue provides a valuable opportunity to own these classic tracks in their prime.
Review: Idris's fifth and perhaps most popular of his near-20 LP strong solo discography (that's not including the epic array of artists he's worked with from Fats Domino to Art Davis) Ranging from the heavily-sampled stone-cold soul stunner "Could Heaven Ever Be Like This" to silky disco funk such as the album title track and the sleazier "Crab Apple" to the frenetic jazz blasts of tracks such as "Camby Bolongo", this is the sound of a man fully committed to the craft and spirit of the groove. Nothing short of essential.
Review: Two outstanding Brazilian funk cuts straight out of 1971: "Esperar Pra Ver" is a laden with an immense orchestrated groove that's triggered by a lean, unforgettable bass guitar riff that matches Evinha's purring, slinky allure. "Que Bandeira" rolls with more of a poppy bossa flow with militant rim shots, swooning strings and a momentum that builds on every verse. Both tracks are taken from Cartao Postal, Evinha's third album that has been known to pass hands for as much as L500 in the past.
Review: Brownswood Recordings has high hopes for this debut album from the previously unheralded Yussef Kamaal, which brings together hyped producer Kamaal Williams (AKA Henry Wu) and fast-rising Afrobeat drummer Yussef Dayes. With such talent to draw on, you'd expect Black Focus to be rather good. Happily, it is, with the duo delivering a typically London-centric take on jazz funk. That means that they take as much inspiration from the work of Kaidi Tatham as, say, Herbie Hancock. The key to the album's success - and, yes, it is generally as special as Gilles Peterson suggests - is the fluid combination of Dayes' brilliant drumming and Williams' superb synth solos and effortlessly groovy Rhodes playing.
Review: Hank Mobley's Soul Station, recorded in 1960, stands as a defining moment in his prolific Blue Note career. By this time, Mobley had already established himself, yet this album brought his lyrical tenor saxophone playing to new heights. Accompanied by a stellar rhythm sectioniWynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drumsiMobley shines as the sole horn in the quartet, allowing his smooth yet robust style to take center stage. The album opens with the breezy standard 'Remember' and swiftly moves into Mobley's original compositions like 'Dig Dis' and the title track, both drenched in bluesy, soulful grooves. Tracks like 'This I Dig of You' and 'Split Feelin's' showcase Mobley's deft ability to balance catchy melodies with intricate improvisation. Critics often underestimated his relaxed style, but Soul Station reveals the depth of his talent. All-analogue and beautifully remastered for this Blue Note Classic Vinyl Edition, Soul Station endures as a timeless hard bop masterpiece, capturing Mobley's distinctive sound at its peak.
Review: Acclaimed French DJ, producer and multi-instrumentalist with FKJ has long been a favourite amongst lovers of jazz, soul and broken beat. His first album French Kiwi Juice from back in 2017 took us deeper than ever into his unique world and along the way he paid homages to his inspirations with a real sense of musical maturity. It is a warm, sensuous place to be even now with elements of contemporary jazz, synth-pop, nu-disco, funk and more all taken in and churned out. This limited edition reissue is well worth picking up.
Review: Wayne Shorter's Juju, featuring McCoy Tyner on piano, Reggie Workman on bass, and Elvin Jones on drums, was recorded at Rudy Van Gelder Studio in August 1964 and released in July 1965, resonating with profound influences from John Coltrane. The album's allure lies not merely in technical strength but in its emotive depth, transcending analytical descriptions. Shorter's tenor saxophone exudes a brooding intensity, marked by sharp tonality and deliberate, weighty phrasing, punctuated by rapid flourishes into higher registers that convey a sense of restrained urgency. His compositions, characterised by hypnotic, repetitive motifs, unfold a richly textured musical adventure. The interplay between Shorter and Tyner on Juju reveals a unique dynamic, distinct from Shorter's collaborations with Herbie Hancock on other Blue Note recordings. The album shows varying ensemble configurations across Shorter's discography, each contributing to its nuanced musical landscape. This Blue Note Classic Series reissue, mastered from the original tapes, preserves the album's timeless appeal.
Review: Strut's reissue of Experience Unlimited's 1977 debut Free Yourself offers a fresh dive into a seminal record that paved the way for Washington D.C.'s go-go scene. Originally released in 1977, this album fuses soul, jazz, and funk-rock, showcasing the band's eclectic and pioneering style. Formed in 1973, Experience Unlimited caught the eye of Black Fire Records' Jimmy Gray after a school talent show victory. Bandleader Gregory "Sugar Bear" Elliott recalls their early days in the studio with a sense of youthful spontaneity, capturing their genuine selves. Free Yourself reflects this spirit with its vibrant and varied tracks. From the soulful reflections of 'Peace Gone Away' to the funk-driven 'Funky Consciousness' and the nascent go-go grooves of the title track, the album radiates positive energy and innovation. The reissue preserves the original artwork, including Malik Edwards' cover painting, and features remastering by The Carvery. Accompanied by a new interview with Sugar Bear and rare photos, this edition brings a crucial piece of music history back into the spotlight.
Review: Originally released in 1963 under the Contemporary Records label, The Cry! still stands tall as a hallmark of free jazz by saxophonists Prince Lasha and Sonny Simmons. The timeless album which is now reissued on the Craft label, also showcases the talents of Gary Peacock and Mark Proctor on bass, and Gene Stone on drums. This Acoustic Sounds Series edition boasts AAA lacquers cut from the original master tapes by Bernie Grundman, pressed onto 180-gram vinyl at QRP and housed in a tip-on jacket for a deluxe presentation, making it a fantastic-sounding record.
Review: Active since the late 80s, DJ Yoshizawa Dynamite is a celebrated DJ, remixer, compiler, and producer in Japan. An avid record collector and Wamono expert, he published the sold-out Wamono A to Z records guide in 2015, revealing rare Japanese groove records. DJ Chintam, a member of the Dayjam Crew and specialist in soul, funk, rare groove, and disco, opened Blow Up shop in Shibuya in 2018. Together, they created the Wamono A to Z guide. In this second volume of the Wamono series, Yoshizawa and Chintam showcase the best and rarest seventies' Japanese jazz, funk, soul, rare groove, and disco tunes.
Review: Big Crown Records presents Dave Guy's debut album Ruby. Riffing on the vapour trails emitted from past collaborations with the likes of Amy Winehouse, Lizzo, Pharrell, and Sharon Jones - and last but not least, a former membership of The Roots - Guy's solo output is a testament to his fine skill as a blissful soul producer and composer. An homage to his home parish of Queens, New York, this record was recorded in the bottomless sonic quarry that is the Diamond Mine studio. Through anthemic trumpet lines, boxy but punchy hip-hop backings, two-chord guitar lilts and triplet-time detours, Guy weaves a intricate instrumental tapestry replete with double-folded hems and flourishing handwoven cadences, one that would surely make Arachne blush.
Review: Osaka-based jazz-funk band Wa Yo Set is dropping this new 7" single as a way of offering fans a sneak peek of another new album project they have coming up this year. The A-side features a jazzy, acoustic, and danceable instrumental cover of MISIA's 'Tsutsumikomu Youni,' which has been skilfully reimagined in the band's signature style. On the B-side, the original track 'R308' delivers a breezy summer vibe and closes out a tasty release that showcases the band's ever-evolving sound. It has more than got us interested in hearing the full length that is soon to come.
Review: Ennio Morricone's La Cosa Buffa is a brilliant 1972 soundtrack that beautifully captures the emotional breadth of Aldo Lado's sentimental drama. The score, celebrated for its lush orchestration and hypnotic themes, features an array of string and harpsichord variations, with Edda Dell'Orso's haunting, wordless vocals enhancing the romantic atmosphere. The album, reissued on vibrant yellow vinyl to mark its 50th anniversary, showcs Morricone's exceptional ability to blend dreamy and groovy elements, making it accessible yet deeply evocative. Remastered by Claudio Fuiano, this edition includes a faithful reproduction of the original film poster, adding to its collectible appeal. Notably, the score diverges from Morricone's more intense giallo work, presenting a more melodious and dramatic soundscape. The catchy 'Ballabile N.1' and 'N.2' tracks offer a playful nod to 60s beat music, further enriching the album's varied texture. La Cosa Buffa is a signature example to Morricone's movie magic helping him remain as influential and beloved as ever.
Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.
Review: The Royal Organ Duo is an exceptional name for a project and the music they cook up is no less good either. It comes on Funk Night out of the Us in the form of this tidy 7" and opens up with a new take on a stone-cold hip-hop classic. 'White Lines' sounds the same but different here - the main melodies are intact but replayed on a Hammond organ while the dusty drums are live and jazzy with some extra flourishes added for good measure. The flipside is a deeper cut but one that will still work floors into a frenzy.
Why I Came To California (feat Eki Shola & Denise M'Baye) (4:05)
What You Won't Do For Love (feat Ryuto Kasahara - Soul Supreme remix) (4:05)
Review: Nautilus' second European tour is just kicking off and now, ahead of their new album Pacific Voyage, a special 7" single has emerged. This gem features a track that didn't make the album cut due to time constraints but now shines and has you wondering just how good the album. The A-side has a jazzy rendition of Leon Ware's soulful classic 'Why I Came To California,' sung by Californian vocalist Eki Shola and supported by Denise M'Baye. Their fresh vocals, combined with Nautilus' vibrant instrumentation, create a contemporary take on the original. The B-side features a funky remix of Bobby Caldwell's 'What You Won't Do For Love' by Soul Supreme that showcases rising Japanese star Ryuto Kasahara.
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