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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: Kendra Morris's Babble album reflects her deepest pains and excitements, subconscious anxieties and willing distractions as she intertwines them all into lilting lyrics and fervent tones then feeds them to you. The oringal album came in 2016 as a self released EP and has gone on to become a real fan favourite. Now it is expanded for this reissue with three extra tunes in 'Playing Games,' 'Dial Back' and 'Ride On' as Karma Chief Records (a division of Colemine Records) serve it up as the official vinyl release it deserves.

Review: Seth Applebaum's NTC outfit Ghost Walk Orchestra originally released 'Brownout' on the Night Walker tape in 2016, distilling their hazy, psych-leaning funk sound into a perfect two-minute groove that shows off the band at their best. Now Karma Chief have pulled the track out of cassette obscurity and given it a pressing as a 7", backed up by 'Boneyard Baile' released the same year as a digi-only drop. If you love a moody funk jam played with finesse by a crack team, this record is a must.

Review: Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, verbed and fuzzed out guitars, mysterious vocals that feel like a lost score to a Quentin Tarantino film. Here Karma Chief do thorough justice to this elusive troupe's efforts, bringing together two excellent psych-funk encounters, 'Walk Like A Motherfucker' and 'Isaac Hayes'. The A is an incredible take on, well, "ghost funk", evoking a kind of Creedence-via-Khruangbin wash, in which we can only vaguely register the lyrics as a kind of subliminal, unconscious message (they really are that drowned in echo). The B is even more dreamlike, blurring various boundaries between hallmarks of 60s exploitation film music, modern dream pop and what can only be described as math funk.

Review: Building on the success of their A New Kind of Love album back in 2022, Ghost Funk Orchestra ventures further into the realms of film music, exotica, and psychedelic surf rock with new record A Trip To The Moon.' It was written with the aim of creating a richly layered and collaged listening experience with myriad elements waiting to be discovered with each new spin, and they have certainly achieved that. Featuring fuzzy guitars drenched in spring reverb and horns arranged in a studio big band style, it offers a blend of garage rock attitude and big compositions with influences like Eddie Palmieri and Dusty Springfield to be found within. It also features real recorded transmissions from the Apollo moon missions weaved throughout the tracks as a tale is told of a woman left stranded on Earth by her cosmonaut partner.

Review: Tyrone Washington's 'Submission' is a timeless gem that gets pressed up to 7" here both in original form but also with the masterful Kenny Dope remix on the flip. The A-side is a hard edge jazz number with squealing reeds and tumbling drums, chord stabs and an insistent and rather dark energy. Kenny makes it into a much more smooth number with drums that nails you to the floor. The sax stabs are more muted and fade into the background as the menacing chords come to the fore. Two vital tunes for the collection for sure.

Review: Originally compiled by Adrian Croasdell in 1996, Kent Dance have re-released this great compendium on coloured vinyl. Searching the mod jazz genre's true meaning, the collection reveals the many twists and turns it took throughout the 60s. From Latin influences ("Tengo Tango") to rich, blues and soul influences ("I'm Ready") via straight-up rhythm and blues influences with barely any traces of jazz at all ("Whip It On Me"), Mod Jazz is a fantastic representation of one of the most divisive genres in 1960s youth music.

Review: Of all the seas in the world, the Indian Ocean is up there with those that invoke the greatest sense of mystery. Filling the rather big bit between East Africa, South East Asia, Australia and Oceana, it's a vast expanse of water known for deceptively dangerous paradise islands, political uncertainty, incredible natural beauty and a somewhat wild west (or east?) seafaring culture. It's a place that feels far less familiar to us here in Britain even than the Pacific, and as such a record that looks to interpret cultures and scenes from this watery region is always going to be intriguing. This is the second thematic volume in the Aquapelagos series, split LPs that focus on societies surrounded by waves, and the communities therein. Mike Cooper and Pierre Bastien's interpretation of the Indian Ocean is mesmerising, and often sounds isolated, hypnotic noises ebbing and flowing, distant calls, percussive details, 'atmos' of bird sounds, oscillations, high pitched feedback. A place that is serene and yet disturbed, often by distinctly human elements.

Review: American jazz pianist Tom Sochas delights fans here by finally unveiling a long awaited debut album. Oh this long player, Sochas mixes up a love of hard hitting post- bop with an on going passion for western classical repertoire and results in richly textural and emotive sounds that range from Monk-style to much more delicate in nature. Spaced out analog electronics add extra layers tot he majestic keys and drums and long- time collaborators Julian Knapp on saxophone and Laurie Carpenter on trumpet also add plenty of extra feeling and flavour.

Review: Released back in 1979, Inga was Yagi Masao's first truly solo project released on vinyl. The late jazz pianist had previously created a tribute album to Thelonious Monk in the summer of 1960, a lovesong to one of the greatest jazz composers in history. The Japanese Americanophile is hardly a small star himself, scoring multiple movies and TV shows like the boxing anime 'Ashita no Joe' as well as live-action 60s classics like 'Good-bye Moscow' and 'Bad Girl, Yoko'. Well deserving of a third issuing, the first vinyl reissue since its original pressing, 'Inga' is a multi-instrumental masterpiece where Masao flexes his dexterity to the highest degree. No better is this shown than the dramatic, sweeping intro track ' Memories (Piano Solo)', a showcase in tempo and restraint unlike any you will ever hear today. Curiously, his name seems to be misspelt as Yagui on the 'Inga' cover, and that cover alone - one of numerous quirks to this spellbinding release.