Juno Recommends International August 2018

Review: For the first in a new series of albums covering the Sudanese soul and jazz scenes, Habibi Funk serves up an album of previously unreleased material by veteran performer Kamal Keila. The music contained on the album comes from two reel-to-reel tapes of session recordings made by Keila and his band for Sudanese radio in 1992, though many of the songs and arrangements date back to the 1970s. During his '70s peak, Keila was often described locally as "Sudan's answer to James Brown or Fela Kuti". Although the influence of both is present on both tracks, you'll also hear Sudanese blues, fifties-style R&B, hazy funk influenced by the Ethiopian music scene and sweet, horn-heavy, breakbeat-powered sing-alongs. Superb stuff, all told.

Review: Paris-based quartet Insolito UniVerso make their debut through London's Olindo imprint, pressing up two tracks over two sides of 7" wax. The Venezuelan outfit have a deep, mystical style about them, taking their jazz to new and exciting territories beyond the genre's usual constraints. In fact, the opening "Vuelve" has the knack of remaining addictive and hummable even in its ethereal, intricate construction - an oddly eerie sort of melody is worked into a tight groove made up of organic instruments and the lead singer's (Maria Fernanda) voice. "Decima" is a slower, deeper, darker song that works its charm even without the help of the band's percussive work. With this crowd, it's all about the vibe...

Review: Mr Bongo's latest full-length reissue is something of a gem: the near impossible-to-find 1976 debut album from the Super Elcados. It first appeared on EMI Nigeria, though in recent years original copies have become more rare than the hen's teeth and a coherent government policy on Brexit. Listening to this fine re-mastered reissue, it's easy to see why the album is so beloved by African soul, funk and disco collectors. While it does boast a clutch of tracks that wear their Afrobeat influence with pride, the majority of the album is far more funk and soul-fired in tone. Throughout, the playing and production is spot on, with plenty of killer percussion breaks dotted throughout for good measure. Nigerian fire!

Review: Emilio Santiago's debut from 1975, the self-titled LP that officially marked the dawn of a new era, is still a classic to this day, and the sort of album that is the reference point to Brazil's long dynasty of rhythmic funk music. Joe Davis' Far Out label is responsible for this timely reissue, coming through with a new photo on the cover artwork - Santiago looking fly, as he always was. In so many words, this album is for anyone looking for either an affordable copy of this classic album, or a Brazilian funk album that brings you the heart and soul of Rio De Janeiro's rich musical heritage. Unmissable.

Review: These days, Mulatu Astatke is widely considered to be the "Godfather of Ethiopian jazz". Yet when he recorded the two-part "Afro-Latin Soul" album in 1966, he'd just left music college in Boston. As this fine reissue proves, Astatke was years ahead of the game. While rooted in American jazz from the period, all tracks draw heavily on Cuban jazz, in particular, as well as Ethiopian musical traditions. In truth, the latter aspect doesn't come through quite as strongly as you'd perhaps expect, though some of the album's highlights - the brilliant "Soul Power" in particular - draw more heavily on the percussive polyrhythms of Africa. Regardless, this is a superb set of forward-thinking global jazz that delivers high quality entertainment from start to finish.

Review: Stone cold Latin gold. After releasing no less than four albums in 1957 (including Night Beat and Dance The Cha Cha Cha) in 1958 Tito and his decorated troupe delivered what's universally agreed as one of the most important Latin albums of its time. Fusing the cha cha cha and the mambo with a contemporary vitality and energy that's almost mischievous, the whole album is delivered blast after blast as we're hurled deep into the percussive hypnosis of "Mi Chiquita Quiere Bembe", soothed by the glockenspiel harmonics and sudden horn blasts of "Hong Kong Mambo" and totally smitten with the melting vocals of "Llego Mijan". Setting the world up for his paradigm shifting "Oye Como Va" a few years later in 1963, this album put Tito and his orchestra on the map forever...

Review: These days, Mulatu Astatke is widely considered to be the "Godfather of Ethiopian jazz". Yet when he recorded the two-part "Afro-Latin Soul" album in 1966, he'd just left music college in Boston. As this fine reissue proves, Astatke was years ahead of the game. While rooted in American jazz from the period, all tracks draw heavily on Cuban jazz, in particular, as well as Ethiopian musical traditions. In truth, the latter aspect doesn't come through quite as strongly as you'd perhaps expect, though some of the album's highlights draw more heavily on the percussive polyrhythms of Africa. Regardless, this is a superb set of forward-thinking global jazz that delivers high quality entertainment from start to finish.

Review: Brazilian soul titan Jorge Ben's ninth, and arguably most successful, albums Ben enjoys a timely reissue and it's still sounding every bit as gutsy, warm and spirited as it always has. Opening with the famous "Taj Mahal" (ahem Rod Stewart), it's a rich fusion from the off; the delicate inflections and skin scorching strings of "Moca", his softly strummed ode to his favourite footballer "Fio Marvilha", the urgent hot hearted flamenco of "Quem Cocicha O Rabo Espicha" and the swooning, steel string twanging, tavern echoing finale "Morre O Burro, Fica O Homem" to name but a few. Beautiful.