ROY AYERS Schallplatten & CDs

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: Roy Ayers' 1968 jazz opus Stoned Soul Picnic might be less beloved or revered by fans of the vibraphonist, but it is nevertheless a deeply affecting slice of jazz mindfulness and fittingly contrasting mood, consisting entirely of covers of songs by the likes of Laura Nyro ('Stoned Soul Picnic', after which the album takes its namesake), Charles Tolliver ('Lil's Paradise') and Edwin Birdsong ('What The People Say'). We now hear a full-quality reissue via Nature Sounds.

Review: 'Good Good Music' and 'Chicago' are two gems taken from Roy Ayers's 1983 disco funk album Silver Vibrations, which was last reissued back in 2019 by BBE. This 7" pairs off two of its most vibey cuts. 'Good Good Music' has mad synth squelchy, big organic disco licks and a diva vocal full of soul. On the flip is a late-night romancer, a slow motion smoother with under vocal wishers, low slung funk bass and rich, golden chords for a luxurious feel. Two very different but equally devastating tunes.

Review: This classic Roy Ayers album seems to get reissued almost exactly every 10 years, and every time it quickly disappears, so move fast for this latest drop by Nature Sounds. The album has just four tunes across two sides of vinyl and has talented musicians like Joe Henderson, Charles Tolliver, Bruno Carr, Jack Wilson and more all featuring. It is one of Roy's earlier works from back in 1967, before he became a funk, acid jazz & r&b icon, and has elements of his mad vibraphone skills front and centre. he super cool tracks are infused with the sunny sounds that Roy is so well loved for.

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: ***B-STOCK: Record has very light surface marks, but otherwise in excellent working condition***


Iconic jazz funk hero Roy Ayers has been sampled as much as anyone out there and few tunes have been in the spotlight as much as his 'Chicago.' For the first ever time here it gets its own 7" pressing. It's a track that oozes cool late night funk - the cute Rhodes, the spoken word samples and funky bass riffs all manage to be warm and seductive but also hint at a little menace. Things get more sentimental on 'DC City' (offered up here as a special extended 7" mix) with the breezy vocals and ad libs, the cosmic synth work and textbook Roy Ayers funk all being as inviting as you like.

Review: Iconic jazz funk hero Roy Ayers has been sampled as much as anyone out there and few tunes have been in the spotlight as much as his 'Chicago.' For the first ever time here it gets its own 7" pressing. It's a track that oozes cool late night funk - the cute Rhodes, the spoken word samples and funky bass riffs all manage to be warm and seductive but also hint at a little menace. Things get more sentimental on 'DC City' (offered up here as a special extended 7" mix) with the breezy vocals and ad libs, the cosmic synth work and textbook Roy Ayers funk all being as inviting as you like.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


There is a wealth of Roy Ayer reissues out there right now, and we're all for it. West Coast Vibes is the latest, and is a full length written in 1963 while Ayers was working in Los Angeles with pianist Jack Wilson. It lead to his first recording contract and is what many believe to be his finest and freest musical expression, with no commercial overtones but plenty of the warmth and colour that he became so well known for. It has all the unique percussion you would expect and is a much more conventional jazz record than he later offered up. Add in the soulful saxophone of Curtis Amy who played along, and you have an essential Ayers record.

Review: There is a wealth of Roy Ayer reissues out there right now, and we're all for it. West Coast Vibes is the latest, and is a full length written in 1963 while Ayers was working in Los Angeles with pianist Jack Wilson. It lead to his first recording contract and is what many believe to be his finest and freest musical expression, with no commercial overtones but plenty of the warmth and colour that he became so well known for. It has all the unique percussion you would expect and is a much more conventional jazz record than he later offered up. Add in the soulful saxophone of Curtis Amy who played along, and you have an essential Ayers record.

Review: The legendary Roy Ayers has a wealth of great material to his name but Virgin Ubiquity: Unreleased Recordings 1976-1981 might just be the cream of the crop. It's packed with gold that fuses soul and funk, jazz and disco into a load of killer cuts that never got their own release. There are husky vocal tracks featuring Merry Clayton on "Oh What A Lonely Feeling," "I Really Love You" and "What's the T?", sensual soul stirrers from Carla Vaughn such as "Mystic Voyage" and "Together Forever" and of course liquid synths and rhythm sections underpinning each of the tracks.

Review: ***B-STOCK: Record has very light surface marks/smudges, but otherwise in perfect working condition***


Expansion's latest must-check seven-inch mines Roy Ayers' 1983 album "Lots Of Love", a sparkling post-disco set that combined the vibraphonist's usual jazz-funk flavours with colourful synthesizers and genuine boogie flavours. "Everybody" on the A-side is particularly potent; a lolloping synth-boogie head-nodder rich in life-affirming synthesizer squelches, rubbery jazz-funk bass, fluid Ayers vibraphone solos and background vocals that sneakily reference "Everybody Loves The Sunshine". Flipside "And Then We Were One" is if anything even more summery in feel, with mazy synth and vibraphone motifs dancing atop a killer jazz-funk groove. It's a little more up-tempo than the A-side, but arguably a little less addictive.

Review: Expansion's latest must-check seven-inch mines Roy Ayers' 1983 album "Lots Of Love", a sparkling post-disco set that combined the vibraphonist's usual jazz-funk flavours with colourful synthesizers and genuine boogie flavours. "Everybody" on the A-side is particularly potent; a lolloping synth-boogie head-nodder rich in life-affirming synthesizer squelches, rubbery jazz-funk bass, fluid Ayers vibraphone solos and background vocals that sneakily reference "Everybody Loves The Sunshine". Flipside "And Then We Were One" is if anything even more summery in feel, with mazy synth and vibraphone motifs dancing atop a killer jazz-funk groove. It's a little more up-tempo than the A-side, but arguably a little less addictive.

Review: This is the second part of Virgin Ubiquity: Unreleased Recordings 1976-1981and is again packed with tracks that are far more than unreleased findings from the cutting room floor. Each one serves as another feather in the bow of the virtuoso Ayers, who combined jazz, funk, soul and disco in magical and unique ways throughout his career. In doing so he laid down a precursor to acid jazz and hip hop. These are tracks that show off his dynamic, liquid rhythm sections and mellifluous keys, as well as the vocal talents of a range of collaborators who touch on soaring and sensuous highs as well as more gravel and earthy lows. Essential.

Review: This is the second part of Virgin Ubiquity: Unreleased Recordings 1976-1981 and is again packed with tracks that are far more than unreleased findings from the cutting room floor. Each one serves as another feather in the bow of the virtuoso Ayers, who combined jazz, funk, soul and disco in magical and unique ways throughout his career. In doing so he laid down a precursor to acid jazz and hip hop. These are tracks that show off his dynamic, liquid rhythm sections and mellifluous keys, as well as the vocal talents of a range of collaborators who touch on soaring and sensuous highs as well as more gravel and earthy lows. Essential.

Review: Second time around for "Virgin Ubiquity", a killer collection of previously unreleased Roy Ayers recordings that first appeared in stores way back in 2003. Focusing on the period between 1976 and '81, much of the material joins the dots between jazz-funk, soul, disco and boogie. Highlights are plentiful throughout, from the weighty, horn-heavy release of the Merry Clayton voiced "What's The T" and heady "Oh What A Lonely Feeling", to the languid vibraphone solos of mellow groover "Green and Gold", jazzy bliss of "Mystic Voyage (Version)" and the stomping, disco era street funk of "I Am Your Mind". In a word: essential.

Review: Massive reissue incoming! BBE have answered many of our prayers with this long awaited repress of Roy's 1983 disco funk excursion "Silver Vibrations". A record that's currently fetching triple figures, this is the first time it's been repressed since it was released. Opening with the iconic whispered message of "Chicago", Roy takes us on a trip through his funkiest of quarters; the salubrious slap bass of "Lots Of Love", the Afrobeat staccato vocals and glock rocking vibrancy of "Silver Vibrations" and the dreamy cosmic jazz trip of "DC City" are just some of the highlights, all shared across the 12"s with no more than two tracks per side. Vibes that can't be slept on.

Review: Massive reissue incoming! BBE have answered many of our prayers with this long awaited repress of Roy's 1983 disco funk excursion "Silver Vibrations". A record that's currently fetching triple figures, this is the first time it's been repressed since it was released. Opening with the iconic whispered message of "Chicago", Roy takes us on a trip through his funkiest of quarters; the salubrious slap bass of "Lots Of Love", the Afrobeat staccato vocals and glock rocking vibrancy of "Silver Vibrations" and the dreamy cosmic jazz trip of "DC City" are just some of the highlights, all shared across the 12"s with no more than two tracks per side. Vibes that can't be slept on.

Review: Following the well-received reissued albums Love Fantasy, Let's Do It, Fever and, more recently, Africa, Centre Of The World, Polydor are reissuing this exceptional 12" that was only ever pressed for DJ promotion in 1980. Featuring two of Ayers most outstanding cuts, it sings with timeless soul and funk. For the rare-groove aficionados it's all about "Love Will Bring Us Back Together" while those looking for more of an upbeat, unrelenting boogie-fusion it's all about "Rock Your Roll". Both are seminal.

Review: "Roy Ayers - Virgin Ubiquity - Remixed" is Roy's most ambitious project yet. Uniting leading remixers from across the hip hop, drum n bass, nu-jazz and house spectrum in a set of complete reworks of newly discovered gems and soon to be classic jams. It is a perfect reflection both of Roy's prolific musicianship and his huge adaptability and influence. These EP's show how Roy's sound has inspired and moulded new sonic forms from deep house to drum n bass to R&B and acid jazz. It also joins Roy himself in a celebration of the many directions in which his sound has travelled in recent years, especially through new Ayers-sampled productions which are constantly turning fresh listeners on to Roy's early classics. The second of three double-EPs to be released this year is "Tarzan/Funk in the hole". Osunlade's mix of "Tarzan" is set to be a future deep house classic. The dub is gritty and tribal and a must for all soulful house heads, already a favourite amongst a privileged few. Aloe Blacc calls on his Latin influences for this Tijuana-tinged shuffle which complements Roy's vibes in an original and exotic re-working that takes "Liquid Love" to new heights. Platinum Pied Pipers have one foot firmly on the accelerator and one on the brake to bring you the tension found in their jazz funk epic take of "Funk In The Hole". TAOS's snare driven, blissfully laid-back mix of "Sunshine" will just cruise you through the sultry summer time. Nicolay has the virtuosity and vision to make almost anything sonically possible. His version on "Funk In The Hole" is a horn-drenched string arrangement that transcends and trips along the original. Jeremy Newall's "Late Night Rub" throws the Harlequin 4 against the Strings Of Life preserving the funk and adding undeniable danceability.

Review: More hot re-edits from funk master Blackbeard!! First up is the superb Roy Ayers jam 'Good, Good Music', recut as a heavy disco funk groove with a Clavinet and guitar-driven push and head-snapping beats. On the B-side you've got Barry White with a classic end of the night party vibe, 'Any Fool Could See'. Great brass section and damn funky guitar!

Review: 'Everybody Loves the Sunshine' represents a pivotal moment for Roy Ayers and Ubiquity, marking a departure towards a funkier and more laid-back sound in 1976. With its languid tempo and dreamy atmosphere, captures the essence of summer with its joyful lyrics and hypnotic groove. Ayers' vibraphone melodies intertwine seamlessly with the band's instrumentation, creating a mesmerizing sonic landscape that resonates with listeners. The song's universal appeal lies in its ability to evoke a sense of warmth and nostalgia, making it a timeless classic that continues to enchant audiences across generations.

Review: When it comes to offering up seven-inch singles of tracks taken from classic or sought-after albums, Dynamite Cuts has an impressive track record. They're at it again here, this time mining Roy Ayers and Wayne Henderson's 1978 jazz-funk/disco fusion masterpiece "Step Into Our Life". On the A-side you'll find the languid, loose and groovy title track, a memorable affair in which dueling vibraphone and trumpet solos make merry atop a head-nodding, toe-tapping jazz-funk groove. Flipside "For Real" is a little more energetic and loved-up, with touchy-feely vocals, husling slap-bass and sci-fi synths to the fore.

Review: Vinyl sampler from the full length of tracks chosen from Bugz in the Attic. Some cool hard to find gems here.

Review: Cro-Magnon's 2010 album 4U has plenty of stunning pieces on it, but of course a collaboration between Japan's eminent jazz funk outfit and grandmaster Roy Ayers was going to be a particularly special moment. DJ Kawasaki has taken the track for a ride and pressed the results onto 7", keeping the vibe intact but eking the track out with blissful results. For those who just want the groove, there's the instrumental on the flip so you can trip out on Ayer's stunning vibraphone playing.

Review: Get familiar... DJ Vas was the guiding force of French electronic act Kojak. In their time they were up there with the biggest French exports you can imagine. Now flying solo, he's still got funk oozing from every creative pore as he digs out four formative disco/funk cuts and gives them his own unique twist. Ayers undergoes major loop surgery as Vas teases and pleases us with the instantly distinctive hook of "Love Will Bring Us Back Together". BB & Q get beef in the kick department while Vas leaves their supreme synth boogie flavours almost untouched. Crown Heights Affair, meanwhile, get two Vas facelifts... "You Don't Have To Say You Love Me" is stripped back to begin with, allowing the dynamic to build with more grace and impact while "Use Your Body & Soul" is given a fine filter polish and refocus on the vocal phrases that we guarantee will instantly stun any floor.

Review: Call Me: Jazz from the Penthouse presents previously unreleased live recordings from jazz pianist Jack Wilson and his quartet. Wilson is best known for working with majors lie kAtlantic and Blue Note and here worked with a then-young Roy Ayers in Seattle in the hot summer months of 1966. The tracks take in some classic standards as well as some of the days pop hits. The grooves flow freely, the vibes are perfect accompaniment for dinner time listening sessions and the group features Von Barlow on drums and Buddy Woodson on bass. A fascinating 24 page booklet is also included for extra context.

Review: The Jack Wilson Feat. Roy Ayers album was Jack Wilson's debut record as a bandleader. It was first put out in 1963 on the Atlantic label and starred a very young Ayers doing his famous thing on vibraphone. Bassist Al McKibbons and drummer Nick Martinis also played a part in the quartet and Wilson himself laid down some compelling piano work. He was an also underrated composer who worked with the likes of Esther Phillips and Lou Rawls and showed that here. The record opens with an energetic cover of Jobim's classic 'Corcovado' and then takes in five thrilling originals that are warm, dynamic and classy.

Review: Here's something to make the heart sing: two recent future classics from long-serving Japanese nu-jazz collective Kyoto Jazz Massive, remixed by awesome West London keys-man Kaidi Tatham and similar long-serving British duo De Lata. Tatham delivers sublime vocal and instrumental reworks of Roy Ayers collaboration 'Get Up', re-casting the track as a sun-soaked, slowly rising slab of soulful gorgeousness rich in broken house beats, dazzling electric piano licks, rubbery jazz-funk bass and spacey synths. Over on the flip, De Lata delves into their bag of Brazilian influences and delivers vocal and instrumental revisions of 'This Feeling' that sit somewhere between summery samba, afternoon-ready soul and life-affirming nu-jazz.

Review: Kyoto Jazz Massive's most recent album, the critically acclaimed Message From a New Dawn, was packed to the rafters with highlights, with their surprise collaboration with jazz-funk legend Roy Ayers, 'Get Up', arguably being the best of the lot. Here the track gets a deserved single release, albeit via two 45-friendly re-edits from Japanese scalpel fiend DJ Kawasaki. He subtly snips and chops the track on the A-side '45 Edit', finding room for both the various instrumental solos and vocal sections while keeping the original's focus and energy in-tact. Over on the flip he chooses to showcase Ayers' superb vibraphone solos, jettisoning the original version's vocals on an all-instrumental revision that's a genuine jazz-funk-goes-disco treat.

Review: This is a new, short and seriously sweet album from Oh No - Madlib's bother - who is famed for being an innovator and mad talented when it comes to the art of sampling as well as rapping and beat making. He has a rich history of exploring a wide world of source material and here it is jazz funk great Roy Ayers in the spotlight. This superb instrumental collection deconstructs the work of iconic vibraphonist and is split into two halves each with its own vibe and all constructed from the early jazz-centric realm. Good Vibes is all about light and vibrant layers beaming in the sun and Bad Vibes is more dark and murky for angrier times.

Review: The latest missive on GAMM is something of a biggie. It features two superb reworks of classic cuts by Pharoah Sanders and Roy Ayers courtesy of Opolopo, a house producer whose cuts always have plenty of synth-fired funk and lashings of soul. He brilliantly transforms Sanders' "You've Got To Have Freedom" into a rubbery, Latin-tinged house number, underpinning the original jazz cut - complete with righteous vocals and killer trumpet solos - with an ace new bassline and beefed-up beats. He takes a different approach on his revision of Roy Ayers' "We Live In Brooklyn Baby", re-casting it as a rolling and chunky house number full of suspenseful string parts, twinkling pianos and Ayers' titular vocal.

Review: Adrian Younge and A Tribe Called Quest man Ali Shaheed Muhammad's recently released "Jazz Is Dead" album had the feel of a landmark set: a collection of inspired, all-star workouts that combined live, hip-hop style beats with the effervescent musicality of soundtrack jazz, soul, jazz-funk and Latin jazz. This speedy sequel flips the script, stripping back the guest list to a single guest collaborator: jazz-funk and fusion legend Roy Ayers. From start to finish, the set bristles with sweet female group vocals, mazy Vibraphone solos, ultra-warm electric piano, hybrid hip-hop/jazz-funk beats, and Ayers' effortless musical positivity. While nowhere near as eclectic as its predecessor, "Jazz Is 2" is arguably an even more coherent and enjoyable album - and that's saying something.