Back catalogue: All genres

Review: Mr Bongo's Brazilian 45 series hits it's ninth gear with two region-defining slices of sun-kissed samba soul. Doris takes the lead with delicate frontage. Leading from the front, all instruments follow her cues and mirror each vocal flourish with mild big band cheekiness. The instantly distinctive "Tudo Que Voce Podia Ser" from sister quartet Quarteto Em Cy is a great twist on a Latin classic with its slightly rocky guitars and full bodied harmonies. Previously released in 1972, a return has been long overdue.

Review: Q.A.S.B. is a Japanese funk and soul ensemble with a.yu.mi. handling lead vocals, a singer celebrated for her funky style reminiscent of James Brown but captured here in a more romantic and subdued mood here. 'Will' is a new single on Soul Garden that offers up soulful and pop-leading sounds with elegant vocals and graceful grooves backed by big band horns. Interestingly, the same tune gets served up again on the flipside, only sung in English. It neither improves nor detracts from the original but proves to be an interesting experiment for that reason.

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: Carrying the legacy of their late uncle, who was the cult and crate digger's favourite qawwali legend Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali return with a profoundly moving collection of songs on At the Feet of the Beloved. The album pulses with the intense emotions of love's anxious passion and the dreamlike devotion it inspires. The vocals and arrangements are masterfully refined throughout so sit in harmony with the work of the ensemble to create a transcendent musical experience that takes you way beyond your own world and into new realms.

Review: Following the success of their first collaborative album, 2017's Curao, Will 'Quantic' Holland and Colombian "folkloric" singer-songwriter India Gongora have once more joined forces for a second joint full-length. Designed as a musical exploration of "the nostalgia of impossible love", the set's uniquely eclectic, widescreen sound joins the dots between the traditional styles of Colombia's pacific coast, cumbia, rock, string-drenched South American ballads and the kind of hard-to-pigeonhole, musically intricate productions that were once the preserve of Rotary Connection's Charles Stepney. It's a terrific album all told, with Holland conjuring up genuine musical magic and Gongora delivering some of the most stunning sounding vocals of her career.

Review: This first outing on the new Jazzybelle label marks the first reissue in 25 years of Quarteto Novo's legendary Brazilian jazz album licensed from Universal Music Brazil. A fusion of northeast Brazilian music, bebop, jazz and folk creates a wonderfully alive and arresting organic sound from the influential group which features Hermeto Pascoal, Airto Moreira, Theo De Barros and Heraldo Do Monte. Quarteto Novo released only one album yet left a significant impact on Brazilian music after originally forming as "Trio Novo" for a live event. They gained popularity through a tour led by Geraldo Vandre in 1966 and this historic album was a real highlight of their early years.

Review: Adrian Quesada is a multi-instrumentalist and producer who featured in the Grammy-winning Grupo Fantasma as well a plethora of other ventures like Black Puma and The Echocentrics. Now he's back with a new solo album which celebrates the funky, psych-licked sound that washed through Latin America in the 60s and 70s. It almost comes on like a library record, so silky is the sound, but there's enough nuance and expression edged into the playing to take it into a more personal sphere. If you dig groove-minded crafters like Quantic, you're going to love the sound of Adrian Quesada.

Review: Released in 1977, this Nigerian rock album remains a hidden gem, rediscovered by a new generation thanks to recent reissues. Produced by Odion Iruoje, the album features a group of college students whose music captures the vibrant, post-civil war Nigerian rock scene. With a sound that blends Western rock influences like The Beatles, Buffalo Springfield and early Genesis with a distinct African touch, the album is a joyful yet melancholic exploration of love and harmony. Tracks like 'Love', 'Be Nice to the People' and 'Mary Enne' showcase the band's signature blend of fuzz guitar and heartfelt vocals. The music resonates with the exuberance of other African bands like Blo and Witch, yet it stands out with its heavy fuzz guitar and English vocals, steering clear of political or social activism in favor of pure, emotional expression. This album, recorded in Kenya, captures a moment in history when African rock was evolving, bridging cultures and sounds. It's a timeless piece, equally nostalgic, fresh and perfect entry point into African psychedelia for new listeners and a rewarding revisit for those already familiar with the genre.

Review: Mad About Records officially reissues super rare private press Quintessence's 1981 LP. Surprisingly for the level of talent and production / recording wit that it flaunts, Quintessence was one of many original jazz LPs to remain in private circulation and thus completely wanting of the public ear. Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse, the band nonetheless recorded an exceptional slice of artistic pie here, bringing Rhodesy, tritoning sundowners to the then already well-fleshed milieu of 80s jazz, an unmistakably bulbous and gaudy sound to which Quintessence do much justice; our favourite here by far is 'In My Apartment', a tssking blue-jazz suite for boughed double bass and noir piano.

Review: Recorded at Fish Factory Studios in London in April 2021, Abbreviations by Qwalia reflects meticulous editing and post-production that condenses raw recordings into seven intricate tracks. Featuring collaborators Ernesto Marichales (percussion), Miryam Solomon (vocals), and Valeria Pozzo (violin, viola), the album expands on the success of "Sound & Reason," which was championed by Gilles Peterson and Mary Anne Hobbs. Tracks like 'Elevator Company' transform jam sessions around Tal Janes' guitar into lounge grooves with Solomon's ethereal vocals blurring ambient and improvised music. Meanwhile, 'The Spin' dives into trance-like intensity, capturing the band's energy after exhaustive recording sessions.