Bbe Vinilo y CD

Review: Altera Vita is a remarkable duets recording featuring the talents of Kofi and Alina Bzhezhinska, who display their mastery of their respective instruments while also handling percussion duties. The album opens with the serene 'Tabula Rasa-Blank Slate,' setting the pace for a collection of six perfectly paced tracks that exude soul and spirituality. Kofi's well-timed explosions of power, particularly on 'Audite Me-Hear Me,' complement Bzhezhinska's fluid and water-like flow throughout the album, notably on 'Anima-Breathe.' While the album pays homage to jazz legends John and Alice Coltrane, it's primarily a tribute to the late Pharoah Sanders, evident in Kofi's composition 'Altera Vita (for Pharoah Sanders).' Originally released as a single, the album expands on this theme, delivering a powerful and moving masterpiece that honors the tradition of jazz spirituality. With its profound depth and emotional resonance, 'Altera Vita' stands as a respectful tribute to the enduring legacy of jazz legends.

Review: BBE has delivered something of a future classic here, as decorated Eastern European harpist Alinha Bzhezhinska and British tenor saxophonist Tony Kofi join forces on a picturesque full-length excursion dedicated to the memory of spiritual jazz maestro Pharoah Saunders. It's a genuinely unique and hugely evocative affair, with Kofi's meandering, mesmeric melodies and inspired improvisations snaking in and out of Bzhezhinska's dreamy harp motifs and melodic percussion instruments (think bells, marimbas, vibraphone, xylophone and so on). It's not a familiar musical palette, but it's one that consistently delivers - and then some. Our picks of a very strong bunch include lucid opener 'Tabula Rasu - Blank Slate', the exotic and psychedelic 'Audite Me - Hear Me', and the picturesque, meditative closing cut, 'Altera Vita - Another Life'.

Review: For the latest volume in their essential "Jazz Masterclass" series, BBE takes a trip back to 1979 and the sole album from Japanese combo Miyasaka + 5. There's not much info on the collective, other than that drummer and composer Takahashi Miyasaka was the band's leading light. Regardless, the set has long been talked about in hushed tones amongst jazz collectors and is well worth picking up. Musically, its four lengthy tracks - here stretched across two slabs of wax for the first time - are breezy, loose, spiritually and wonderfully detailed, with the fine production picking up each of the musicians' particular tricks and densely layered solos.

Review: Venerable Japanese sax man Koichi Matsukaze has a scattered discography that reaches back to the 70s, but one of the true highlights of his accomplished career is the first he recorded with the Koichi Matsukaze Trio and Ryojiro Furusawa in 1976. BBE have been tapping into Matsukaze's archives for some time, and the incredibly rare and sought after At The Room 427 is in good hands with the jazz, funk and soul specialists. From the 20 minute epic 'Acoustic Chicken' to the short but oh-so-sweet vignette 'Theme Of Seikatsu Kojyo Iinkai', this is gold dust for dedicated jazz diggers.

Review: We're prepared to argue with anyone on this, but Universal Robot Band's "Barely Breaking Even" is one of the best boogie-era disco records ever made. Its title was also the inspiration for the name of BBE Records, so it seems fitting that the label's 500th release is an all-star re-recording that brings together NYC house hero Louie Vega and original creators Leroy Burgess and Patrick Adams. Vega delivers vocal and instrumental versions of two distinctive passes: a slick, smooth, soulful and string-laden "Boogie Mix" rich in warm electronics and subtle nods towards the early '80s original, and a rolling "NYC House Remix" full of twinkling Fender Rhodes solos and atmospheric chords. As you'd expect, Burgess' re-recorded vocal is superb.

Review: Here's an intriguing remix choice by Pepe Bradock, Coda Deep and Ame: 'Big Booty Express' channels hot-footed twerkage into scratchy yet weighty house beats, over the course of four exclusive mixes on 12". The original beat, which also appears here, was a solid and rather crude piece of space-age lo-fi, filled with Dilla-ey noise wreckage. It was the only Dilla beat to ever come about as a tribute to Detroit techno. And for that, the three remixes lend completely new ideas to the original, tooting and farting into a nice n' raw ether.

Review: With a sound that was honed in Las Vegas, there's a distinct showbiz flavour to west coast funk band Breakaway. Disbanded in 1980, this is the band's long-lost debut LP, and it's full of surprises and stunning moments of mesmerising production. For example; "My Symphony" comes on strong like an ABBA record while the track before it - "Everything's Been Said About You" - comes with a smoky Hendrix style riff while the track that follows it - "There's A New Group In Town" - is a psychedelic funk jam. With a tight sense of musicianship and funk throughout, Breakaway were truly unique and, thanks to BBE, their work is about to get the attention it deserves.

Review: Swiss label Delta Production originally released J&F Quintet's Contrast album back in 1976. It has since become a highly collectible and rare Swiss jazz gem with mint copies going for upwards of L350. For the recording sessions, founding band members Stefan Schneller, Donat Beer and Toni Scha?dler were joined by drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta. Their take on jazz fuses Swiss-Romansh traditions to cook up something in a sound world of its own. Sadly this was the only album the group ever recorded before going off to work on solo projects.

Review: Jazzanova remains one of the most musically astute and adventurous acts in the electric scene. Their sounds never seem to age and fuse everything from jazz to funk to soul. That makes them perfect for remixing by more dance floor-orientated producers and that is what we get here. Alongside an original tune 'Creative Musicians' Detroit talent Waajeed brings his warm machine soul and deep grooves, Henrick Schwarz's signature melodic majesty and serene sounds are on display and further dubs and instrumentals are also included. This one really packs a punch for fans of broken beat.

Review: Japan's revered DJ Muro has put together his first ever compilation for BBE. Diggers Dozen is a real gem with 12 tracks of Japanese jazz-funk and Latin-jazz goodness that fuse traditional instrumental with traditional melodies. These tunes were originally made for the 70s for Nippon Columbia by legendary composers of the time such as Kiyoshi Yamaya, Tadaaki Misago & Tokyo Cuban Boys, Kifu Mitsuhashi, Toshiyuki Miyama and more. Finding these cuts on their original pressings is rare and expensive so don't sleep on this real collector's essential.

Review: This year BBE will be offering up plenty of funk, soul and boogie gems from the vast vaults of Nigerian label Tabanisi Records. This, though, is an altogether different beast: a new pressing of a barely known 1986 recording of the investiture ceremony of an Eze-Nri king - a ritual that has sporadically been carried out by members of the Nri Kingdom for well over a thousand years (and possibly even longer). It makes for fascinating listening and consists of little more than infectious drum rhythms, occasional chants, and occasional hypnotic melodies played on a hand-made wooden flute. The music itself is highly rhythmic - as you'd expect - and rooted in traditions that could well pre-date Christianity.

Review: Next up for BBE is a package of remixes that invites several key artists to add their own spin to Jazzanova's superb reimagining of Sam Sanders's iconic 'Face at my Window'. Kyoto Jazz Massive are first to tackle the single which first appeared on 'Strata Records - The Sound of Detroit - Reimagined by Jazzanova' and bring some intimate jazz clubs vibes. After a Yoshi edit and version with vocalists Sean Haefli, musclecars bring a touch of New York and Chicago house classicism to their version. Both remixers bring new perspective to this timeless classic.

Review: For those interested in Japan's modern jazz wave of the 1960s and early '70s, BBE's J Jazz Masterclass series of rare album reissues always deliver the goods. For proof, check the latest volume: a first ever reissue of Kohsuke Mine's 1970 debut album, First. Full of energetic, hard-wired sax solos (provided, of course, by Kohsune himself), rubbery bass (courtesy of Larry Ridley), jazz-funk electric piano (Masabum Kiluchi on keys) and frenetic rhythms (laid down by Lenny McBrowne), the album is undoubtedly a landmark J-Jazz set and just gets better with each successive listen. It also includes a terrific interpretation of Thelonious Monk classic 'Straight No Chaser', which - in our considered opinion -is no bad thing.

Review: Two years ago, Volcov set our pulses racing with From The Archive, a superb selection of killer cuts from the depth of his notoriously impressive record collection. Volume 2 is equally as inspired, though the focus is a little different. Whereas Volcov previously chose to concentrate on soul, funk and disco, this edition is far more widescreen in scope. So, we get soaring soul-jazz bliss (Collective Peace's "Let The Music Play"), head-nodding hip-hop soul (Eric Lau remixing Ruth Koleva), futurist jazz-funk (Ron Trent's wild but brilliant "Ori Space"), soul-fired broken beat (Volcov's own re-edit of Xantone Blacq's vintage remix of Intuit's "Planet Birth"), impeccable soundscape jazz ("Lawra" by Tony Williams) and much more besides.

Review: Some four months after he lost his battle with cancer, BBE is releasing Paul 'Trouble' Anderson's final production - a fittingly joyous, upbeat and life-affirming cover of gospel standard "Happy Day" featuring the impassioned vocals of soul singer John Redmond. On the A-side of this 12" edition you'll find the "Classic Main Mix", a bouncy and rubbery fusion of soaring gospel vocals, bumping house beats, mazy organ solos, rubbery disco bass and clipped guitar riffs. It's superb all told, and a fitting final hurrah from one of the UK's most significant DJs of the past 40 years. Over on the flip you'll find the slightly more stripped-back "Classic Dub", where impassioned vocal snippets ride Anderson's killer groove, bouncy pianos and spacey synths.

Review: IF Music's name is legendary amongst those in the know and now Jean Claude celebrates that with another superb compilation on BBE. Across this beautiful gatefold vinyl release, there are nine next level jazz tunes from the likes of Emanative & Liz Elensky, Sylvain Kassap, Greetje Bijma Kwintet and Atilla Engin Group. This is the ninth release in the 'You Need This' series and the music on it ranges from 1980 to the present day. It all adds up to a wonderfully coherent release that takes you through four decades of stylish jazz.

Review: Enja Records was founded in Munich in the early 70s by jazz devotees Matthias Winckelmann and Horst Weber. Given a co-sign by the always on-point BBE and IF Music founder Jean-Claude, the label is now enjoying a retrospective compilation which seeks to celebrate the best of their golden years. Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja's rich and diverse back catalogue. It may only be an introduction to a vast pool of music, but it's curated with authority by a dedicated head, so you know you're getting a shortcut to the best the label has to offer.

Review: BBE Music continues to delve into the exceptional back catalogue of Detroit's Strata label. Overall, there's not a huge amount there, with just ten albums released during the imprint's tenure. Nevertheless, what's there has plenty worth diving into, not least the stunning cover designs by iconic jazz poet John Sinclair - aesthetics to set the mood, make no mistake.
Sphere's Inside Ourselves was the third record put out on the platform. Recorded live at the Detroit Institute of Arts on 28th June 1970, and like much of the Strata stuff, this is about boundary-free jazz that captivates and compels the listener as much as it seems to entrance and possess those playing it. Indicative of the overall standard that came out of the camp itself, collective memories of Sphere themselves seem hazy, but John Dana, Jimmy Peluso, Keith Vreeland, Eddie Nuccilli and Larry Nozero made up the outfit, so props to them.

Review: BBE's J Jazz masterclass continues unabated with this holy grail issue from Hideyasu Terakawa and his quartet, including Hirosji Fuji in the line-up. This album of live recordings was originally released in 1978 as a private press affair in numbers as low as 100 copies, but now it's been given the ceremonial presentation it deserves. The music is actually a range of covers, as Terakawa and co reinterpret works from US composers such as Wayne Shorter, Frank Foster and Milt Jackson and Jimmy Heath. It's a superlative set loaded with feeling and all the more magic for knowing it was all laid down live, in the moment.

Review: ***B-STOCK: Creasing to corner of outer sleeve, product unopened & in excellent condition***


BBE's J Jazz masterclass continues unabated with this holy grail issue from Hideyasu Terakawa and his quartet, including Hirosji Fuji in the line-up. This album of live recordings was originally released in 1978 as a private press affair in numbers as low as 100 copies, but now it's been given the ceremonial presentation it deserves. The music is actually a range of covers, as Terakawa and co reinterpret works from US composers such as Wayne Shorter, Frank Foster and Milt Jackson and Jimmy Heath. It's a superlative set loaded with feeling and all the more magic for knowing it was all laid down live, in the moment.

Review: BBE's second trawl through late 20th century deep Japanese jazz is every bit as eye opening and essential as its predecessor, which caused many hearts to flutter when it was released 18 months ago. From start to finish, we're treated to a righteous range of largely little-known tunes, from the spiraling, sun-kissed spirituality of Makoto Terashita Meets Harold Land's epic "Dragon Dance", and the funk-fuelled dancefloor jazz brilliance of Mabumi Yamaguchi Quartet's "Distant Thunder", to the smooth, snaking seductiveness of George Kawaguchi Big Four's "Vietnam" and the synthesizer jazz-funk insanity of Electro Keyboard Orchestra's "Mother Of The Future". A superb selection of genuinely off-kilter and life affirming Japanese gems that should be an essential purchase for both serious and casual jazz fans.

Review: Since launching two years ago, Tony Higgins and Mike Peden's J-Jazz series has become an indispensable guide to Japan's modern jazz scene. The third volume continues in a similar vein to its predecessors, gathering together sought-after, overlooked and little-known cuts from across the jazz spectrum (think spiritual, modal, fusion, post-bop and Latin), all of which were recorded by Japanese artists in the 1960s, '70s and '80s. The standard of music is, somewhat predictably, breathtakingly high throughout, with highlights including the weighty post-modal bop of Koshuke Mine's 'Morning Tide', the sun-kissed Brazil-inspired brilliance of Hideo Shiraki's 'Groovy Samba', and a string of funk-fuelled, dancefloor-friendly workouts from Hiroshi Murakami & Dancing Sphynx, Shigeharu Muka and the Ryojiro Furusawa Quartet.

Review: BBE's on going love for Japanese jazz has spawned several superb compilations of late. This is the fourth such volume of their J Jazz: Deep Modern Jazz From Japan series and it is sub-titled The Nippon Columbia label 1968 - 1981. It's a tasteful collection that arrives here on double CD and is again packed with classy sounds from a range of key players. Takashi Mizuhashi joins forces with seminal American talent Herbie Hancock on 'Samba De Negrito' and Hiromasa Suzuki, Jiro Inagaki & His Big Soul Media make a lasting impression with the hard bop of 'By The Red Stream' and the likes of Nobuo Hara & His Sharps & Flats, Hozan Yamamoto go wild on 'Chakkiri-Bushi.' Essential.

Review: BBE has been shining a deserving light on Japanese jazz for a while now through this on going J Jazz: Deep Modern Jazz From Japan series. This latest triple bumper pack is sub titled The Nippon Columbia label 1968 - 1981 and is again packed with next level sounds from a range of key players. Many of them will be familiar to those with a basic knowledge of jazz but plenty won't. The likes of Nobuo Hara & His Sharps & Flats, Hozan Yamamoto go wild on 'Chakkiri-Bushi,' Takashi Mizuhashi joins forces with seminal American talent Herbie Hancock on 'Samba De Negrito' and Hiromasa Suzuki, Jiro Inagaki & His Big Soul Media make a lasting impression with the hard bop of 'By The Red Stream.'

Notes: BBE Music is thrilled to present J Jazz: Free and Modern Jazz From Japan 1954-1988, a remarkable large-format book covering some of the deepest, rarest, and most innovative jazz music released anywhere in the post-war era. Compiled by Tony Higgins and Mike Peden, co-curators of BBE Music’s acclaimed J Jazz Masterclass Series, the book also features a foreword by Japanese jazz icon, Terumasa Hino.

This is the first time a book of this type has been has been published outside of Japan and the first anywhere of this size and scale. It is a unique collection of over 500 albums of free and modern jazz recorded and released in Japan during a period of radical transformation and constant reinvention. An era that saw Japan return from the ravages of World War Two to become a global economic power and emerge as both a technological leader and an international cultural force.

Through a unique gallery of albums, J Jazz charts the development of jazz in Japan from the first stirrings of the modern jazz scene in the mid to late 1950s and on through the hard bop and modal jazz of the 1960s. It steers the reader into the radical directions of the 1970s when free jazz, fusion, post-bop, and jazz-funk opened up a growing number of Japanese jazz artists to a new global audience before consolidating in the mid to late 1980s with a musical scene that laid the path for the contemporary jazz generation to follow.

Over 500 full-colour sleeves from many of the leading names in Japanese jazz sit alongside rare and private pressings that tell a story of constant change and musical exploration. J Jazz includes profiles of several leading record labels such as East Wind, Frasco, King Records, and Nippon Columbia as well as critical independents such as Three Blind Mice, ALM, and Aketa’s Disk. J Jazz includes interviews with celebrated jazz photographer Tadayuki Naito, and pianist Tohru Aizawa, bandleader on the totemic spiritual jazz album, Tachibana Vol 1, as well as free-jazz record collector and jazz musician Mats Gustafsson.

The book also features a chapter on albums by non-Japanese artists that only received a Japanese release, with collectible, rare, and obscure releases by figures such as Herbie Hancock, Miles Davis, Mal Waldron, Steve Lacy, and Art Blakey. J Jazz includes Japanese jazz charts from some of the world’s leading jazz DJs including Gilles Peterson, Toshio Matsuura, Paul Murphy, and Shuya and Yoshihiro Okino. Among the specialist content is a feature on obi strips by record dealer and Japanese jazz expert, Yusuke Ogawa, plus a special article on Japanese Blue Note albums.

Across its 300-plus pages, J Jazz includes a detailed introduction contextualising the music, tracing the story of Japan’s fascination with jazz back before the war. It also features biographical information on many of the key artists involved in shaping the post- war Japanese jazz scene including Sadao Watanabe, Toshiko Akiyoshi, Masabumi Kikuchi, Masahiko Togashi, Terumasa Hino, Yosuke Yamashita, Fumio Itabashi, Masayuki Takayanagi, Takeo Moriyama, Isao Suzuki, and many more.

Review: The story of Teddy Pendergrass is a great but rather tragic one. The legendary vocalist had a truly great voice that is well known in the soul world but later in life was confined to a wheelchair after a car crash, although his career continued until his retirement in 2007. John Morales is an equally legendary producer who single-handedly invented the idea of the remix. It is he who has assembled this collection of some of Teddy's greatest moments under the fitting title of The Voice. All his classics are here from 'Don't Leave Me This Way' to 'If You Don't Know Me By Now.'

Review: Original disco remixer John Morales has spent much of the last decade delivering superb, multi-track reworks of classic cuts, in the process showcasing the sublime musicianship and vocals at the heart of these much-loved classics. He's the perfect choice, then, to dip into the immense back catalogue of leading Philadelphia Soul star Teddy Pendergrass and deliver updated versions. The resultant two-disc set is as inspired as you'd expect, with Morales delivering a blend of peak-time ready revisions of surging dancefloor anthems ('The More I Get, The More I Want', 'Don't Leave Me This Way', 'You Can't Hide From Yourself', 'Life is a Song Worth Singing'), sensitive revisions of deeper catalogue cuts and stunning reworks of jaw-dropping slow jams. Throughout, the troubled but immensely talented singer remains the undisputed star of the show.

Review: Golden-era hip-hop legend DJ Marley Marl continues his adventures in house music, and this time he's got soulful house royalty - specifically Kenny Bobien and Lady Alma- in tow. 'Joy (Hallelujah)' is as righteous, uplifting and life-affirming as you'd expect: a horn, organ and piano-heavy slab of hands-in-the-air brilliance topped off with some sublime gospel lyrics and vocals from Bobien and Alma. We'd argue the track is best in its full vocal 'Extended Mix' form, though the accompanying instrumental is still superb - and arguably more suitable for those who are uncomfortable with the (admittedly joyous) religious messaging within the lyrics. Testify!

Review: BBE comes through with another on-point reissue. This one is a towering giant in the world of J jazz that Masao Nakajima Quartet recorded back in 1979, originally for Yupiteru Records. It is a record that manages to strike a perfect balance between delicate and refined playing with real power and vigour that makes you take note. It features bassist Osamu Kawakami leading the way with sax from Toshiyuki Honda and American drummer Donald Bailey who has worked on countless Blue Note sessions. It is a fusion record with real spirit and a proudly acoustic sound. The album is part of the BBE J Jazz Masterclass Series which is all about reissuing the very best in Japanese jazz.

Review: After the release of the first volume of music selected by Klinkhamer Record shop owner Michel Veenstra in 2022, the anticipation and expectation amongst the heads for a follow up compilation has been building. Now BBE Music can announce that Klinkhamer Volume 2's collection of music from the 70's and 80's is ready to add to the series. An eclectic selection of tracks which crosses genres and styles, Michel has once again curated a compilation album of music that will appeal to the heads, the collectors and the lovers of the groove. A melange of folk, Jazz and funk for the headphones and the dancefloor, Klinkhamer juxtaposes instrumentals with vocal tracks in English, Swedish and French over a double vinyl release and a track order that creates as much a journey as a flow. Michel, alongside his brother Stephen, is the owner of the Klinkhamer Record shop in Groningen and a regular trader at the globally known Utrecht Record Fair since the 1990s. It is this wealth of experience, a nose for a gem and an ear for a tune that that has fed into a compilation that has music lover stamped throughout its eight tracks, all remastered from original vinyl. Coming as a double vinyl and digital release, Klinkhamer Volume 2 is a Godfather II level of follow-up to the previous compilation in the series and really is a must for all true music collectors, vinyl junkies and lovers of tunes curated for the mind, the heart and the feet.