Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Review: 'Dreamtime Trance' is a cult gem for those who like to dig deep, and Alston Koch is exactly that person. She is a Sri Lankan-born Australian musician and the mastermind behind the Kookaburra Connection project, a collaboration with Aboriginal musicians, and this track blends indigenous themes with a unique, game-changing beat and infectious groove. It's a pure dancefloor revelation and this reissue includes a new extended version with a longer intro buildup that adds depth to the track. On the B-side, the heartfelt ballad 'Midnight Lady' offers a contrasting mood that is perfect for after-hours relaxation with PiNa Coladas. Remastered and re-issued with the original artwork, this EP is a must.
Review: As it is often best done in soul, contemporary band Annie & The Caldwells are a family affair, channelling the depths of heartache and euphoria through danceable Mississippi-born bombasts. Lead vocalist Annie Caldwell leads the band alongside her husband of 50 years Willie Joe Caldwell, and is backed by children Deborah, Anjessica, Toni, Willie Jr. and Abel. Juggling hard work with harder musical playing, Can't Lose My Soul takes aim at modern day soul greatness, documenting quotidian struggles and everyday joys in song, and centring their concept on their locality of Main Street, West Point, Mississippi, where the family have run various businesses for decades. With a record this rooted in community, who better to rep the Southern soul set than the Caldwells?
Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.
Review: Jazz maestro and Ezra Collective founding member Joe Armon-Jones presents his most ambitious solo project to date, released on his own fledgling imprint Aquarii Records. After a six-year gap since his last solo album, Turn To Clear View, Armon-Jones has spent his time touring, building a studio, and collaborating with icons of UK jazz, including Liam Bailey, Fatima, Prince Fatty, and Mala over a string of politically-charged EPs. Now All The Quiet promises an august jazz opera in two parts, and so coming complete with an interval, crossing twixt jazz, funk, dub, hip hop, and soul, the album is entirely written, produced, and mixed by Armon-Jones himself, and manifests as the first of a two-part album, featuring guests Nubya Garcia, Oscar Jerome, and Goya Gumbani.
Review: Campania-based combo Asakaira has delivered a genuinely brilliant debut album here. Rooted in improvisation and the collective's combined love of jazz, Afrobeat, jazz-funk, hip-hop and the Afro-cosmic sounds that have long been a staple of Italy's underground music culture, the album's six original tracks (the seventh is an alternate 'Night' take on the jaunty, energetic and percussive 'Skijii') bristle with imagination and inventiveness. For proof, check the tropical disco delights of 'Night Tales', the head-nodding hip-hop-jazz of 'Chatting With You' and the dubby jazz-not-jazz shuffle of 'Moon Phases', a track that just intensifies and gets bigger as it progresses.
Review: Bacao Rhythm & Steel Band, the enigmatic steel pan group from Hamburg, made waves in 2024 when their cover of 50 Cent's 'PIMP' was featured in the Oscar-winner film Anatomy Of A Fall. The track played a key role in the movie's success and led to the first-ever steel pans in the orchestra pit at the Academy Awards, further boosting the band's saliency. And yet despite global recognition, 'PIMP' is just a glimpse of their catalogue, which is already rather extensive. Since signing with Big Crown in 2014, Bacao've released four albums and numerous singles, and Big Crown Vaults Vol. 4 flaunts many of these dishings-out, with covers of Bob James' 'Nautilus', Khruangbin's 'Maria Tambien', and the uptempo original 'Kaiso Noir'. It serves as a tantalizing bud-whetter, too, before their oncoming fifth studio album.
Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.
Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.
Review: Funky Kromong Vol. 2 builds on the success of its predecessor with another bold and bright selection of tracks by legendary Indonesian artist Benyamin Suaeb for Lamunai Records. This volume highlights Suaeb's genius for fusing traditional Betawi music with infectious funk grooves and witty satire. Tracks like 'Kompor Meleduk', 'Cong-Cong Balicong', and 'Koboi Ngungsi' capture his signature humour and cultural insight while offering fresh energy for new generations. The seamless blend of traditional and modern instruments results in a timeless soundscape that honours Indonesia's musical heritage. Vol. 2 is both a nostalgic tribute and a bold, joyful celebration of innovation.
Review: Should you stumble on an original copy of N'Draman Blintch's 1980 album Cosmic Sounds for sale, it would cost you upwards of 1,000 Pounds. This, then, is a much-needed reissue. It contains four fine cuts that showcase the Ivory Coast-born musician's distinctively intergalactic take on Afro-disco, where spacey electronics and mazy synth lines rise above bustling, high octane grooves. The album does contain one decidedly laidback and loved-up slow jam - closer "She Africa (Ton Tour Viendra)" - but it's the celebratory brilliance of the set's dancefloor workouts that most impress. Check, in particular, the anthem-like strut of title track "Cosmic Sounds" and the hot-to-trot, solo-laden Afro-disco explosion that is opener "Self Destruction".
Review: Brian Auger's fusion of jazz, funk, and rock in this 1973 release feels as bold today as it must have sounded then, with his expressive Hammond organ weaving effortlessly through complex arrangements that balance technical mastery with emotional depth. The interplay between soulful grooves and intricate rhythms gives the music a timeless quality, particularly in standout tracks where vocal lines and instrumental passages collide in unexpectedly powerful ways. The reissue brings renewed clarity to a release that remains a touchstone for anyone exploring the boundary-pushing potential of jazz fusion.
Review: Parliament-Funkadelic offshoot project Brides Of Funkenstein was masterminded by George Clinton but fronted by Lynn Mabry and Dawn Silva, whom originally served as the two core backing singers for Sly & The Family Stone. Funk Or Walk was their cyber-augmented opening statement as a duo, combining archly histrionic vocals with truncated funk struttage, and crossing into wonky hi-NRG at points. The record’s wonky and experimental bent epitomises the P-funk sound whose name Clinton helped coin, and which is finessed in the myriad usages of ARP String and Hohner Clavinet, best heard on the light-handed claps of ‘Birdie’ or the polyvalent brass-off ‘Amorous’. The weird brides of Parliament did go on to record two further great records, but this is by far their chef-d'oeuvre.
Review: Bull & the Matadors, hailing from East St. Louis, brought their soulful energy to the Toddlin' Town label in 1968, joining forces with the iconic Leaner family. Inspired by Rowan & Martin's Laugh-In and its courtroom sketch craze, they released the groovy r&b hit 'The Funky Judge,' crafted by Andre Williams and Leo Hutton. Now, their unreleased sequel 'Where Did The Judge Go' finally sees the light, rescued from obscurity for eager fans on provided on the flipside.
Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.
Review: A true return to form, Renascence is a standout in the band's iconic discography, serving as a spiritual and sonic successor to their 1974 album Promised Heights. It brings a fresh, modern edge to their foundational sound, which shaped early hip-hop and funk scenes in both the US and UK. Renascence tells the story of a band that never received its full recognition but is now reclaiming the crown by staying true to their rootsipolitically aware, spiritually positive, and delivering infectious grooves that stand the test of time. A jewel in the crown of their legacy.
Review: A true return to form, Renascence is a standout in the band's iconic discography, now available on limited edition transparent coral vinyl. Serving as a spiritual and sonic successor to their 1974 album Promised Heights, it brings a fresh, modern edge to their foundational sound, which helped shape early hip-hop and funk scenes in both the US and UK. Renascence tells the story of a band reclaiming the recognition they never fully received, staying true to their rootsipolitically aware, spiritually positive and delivering infectious grooves. This indie exclusive edition is a must-have for any serious collector.
Review: Mr Bongo present a staunch retro vision of Cuban-born violinist Alfredo De La Fe, one of whose sonographic creams was the debut salsa-and-more fusion album, Alfredo. Based between New York and Colombia, Alfredo worked with many of the greats in Latin music, including Eddie Palmieri, Willie Colon and Roberto Roena, as well as disco and soul icons Sylvester and Aquarian Dream. For a debut solo record, Alfredo is a real charm offensive, and a valiant experiment at that, mixing Latin dancefloor crunches with De La Fe's own, unusually additive violin, placed centre stage as he solos. The record - a favourite of legendary New York club The Paradise Garage - tonally shifts past the halfway mark, eschewing the A-side's chroma-jazzy clavier discombobulations for an early four-to-the-floor, daresay proto deep house excursion, 'Hot To Trot'.
Review: Manu Dibango knew how to work a crowd. By the time he hit the stage at Marseille's Theatre La Criee in December 1982, he had long mastered the art of turning a gig into a full-blown celebration. This was the man who took makossa global, who made 'Soul Makossa' an international sensation a decade prior and who could pivot between jazz, funk and African rhythms like it was nothing. The recording, unearthed from the INA archives, captures him in peak form, leading an eight-piece band through a set that refuses to sit still. 'Africa Boogie' is all clipped guitars, tight horns and a bassline that struts like it owns the place. 'Ashiko Oumba' turns the groove alluringly, locking into intricate polyrhythms before erupting into pure brass-fuelled joy. Then there's 'Waka Juju', sprawling across three parts, moving from simmering tension to full-throttle release with the kind of control only Dibango could pull off. He's conducting, shaping the music in real-time, every solo a conversation, every break a setup for the next explosion of sound. Four decades later, the set still feels alive. It's there in the call-and-response with the crowd, the sweat-soaked momentum of a band that knows it's on fire. Dibango, effortlessly cool at the centre of it all, proves once again why his music never ages.
Review: The latest release from the TakeFingz label, DJ Katch's 7" single, dives into the blaxploitation soundscape with a fresh twist on a classic 80s hip-hop track. This installment, the fourth in Katch's series, reimagines Grandmaster Flash's iconic 'The Message,' splitting the track into two sidesiScene A and Scene B. Side-1 features an extended funky loop, evoking the feel of a hero driving into the sunset during the credits, while still retaining a vibrant dance floor groove. Side-2 offers a stripped-down, choppier version, perfect for DJs to mix or scratch. Katch's rework celebrates 50 years of hip-hop with his signature style, blending streetwise funk and jazz with distinctive samples and iconic verses. Played by notable DJs like The Allergies and Craig Charles, this release showcases Katch's talent for creating a "furtive" sound, blending classic hip-hop with a touch of cinematic flair.
Review: DJ Notoya returns with another expertly curated selection of Japanese gems, this time delving into the funky, soulful, and city pop sounds of King Records. Spanning the years 1974 to 1988, this compilation is a treasure trove of forgotten classics and hidden gems, a sonic time capsule that transports listeners back to the neon-lit streets and vibrant nightlife of 1980s Japan. Buzz's 'Garasumado' kicks things off with an infectious groove and funky guitar riffs that could rival any Western funk classic. Mami Ayukawa's 'Sabita Gambler' adds a touch of soulful sophistication, her smooth vocals gliding over lush instrumentation. Keiko Toda's 'Fade In' is a city pop gem, its dreamy melodies and catchy hooks evoking a sense of carefree optimism and urban cool. Elsewhere, Johnny Yoshinaga's soulful ballad 'The Rain' provides a moment of introspection, while Kumiko Sawada's disco-infused 'Your Love's Away' will get you moving and grooving. The compilation closes with the feelgood sounds of Masatoshi Kanno's 'Day By Day', a perfect encapsulation of the city pop aesthetic.
Review: Toby Gee's Lowrider 7" delivers a fresh spin on two iconic tracks, turning them into fun party-fuelling artillery. On Side-1, the Racked Mix of 'Lowrider' reimagines Cypress Hill's classic into an underground groove, infusing it with a darker, more rhythmic vibe that keeps the original's essence while bringing something entirely new to the table. On Side-2, the Cracker Mix of 'Vanilla Bop' takes Vanilla Ice's 'Ice Ice Baby' and transforms it into a lively jam band groove. The crisp scratches and expertly crafted edits to the original vocals add a layer of excitement, making it a perfect floor filling track that's sure to get attention.
Review: This new album is Dowdelin's therapeutic best and one that delves into themes of depression, life's highs and lows and resilience. Along the way, it blends Caribbean rhythms with jazz, electronic music and percussive soul to make for an ever evolving and intriguing trip through moments of struggle and hope that mirror those in everyday life. Sung in Creole, French and English, each track weaves rich melodies with deep emotion and makes for a powerful exploration of mental well-being. Dowdelin's take on well crafted funk is where tradition meets modernity and the result is a sound that is both healing and invigorating.
Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:22)
Brian Auger & The Trinity - "Black Cat" (3:23)
Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.
Review: These artists got together back in 1969 to record Let The Sunshine In, a landmark album that blended jazz, rock and soul into a vibrant sound that captured the spirit of its era with its experimental soundscapes and electrifying performances. These two tunes are taken from the album and come on 7" for useful DJ deployment. Driscoll's emotive, soulful vocals pair beautifully with Auger's masterful Hammond organ and the Trinity's dynamic instrumentation. The title track in particular is a real anthem of its day and is sure to make just a s much of a mark all these years on.
Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.
Review: Eramus Hall recorded their debut, and eventually only, album in 1980; the band was allegedly named after a building in Chicago, named "Eramus Hall", that George Clinton of Parliament saw in the street. The record evolved to become one of the most sought-after of the modern soul era, despite the flashpan profile of the band itself (as were many George Clinton P-funk offshoots). This owed in part to its clarion, crystalline production, held down by Clinton himself, and which served to spell out the nascent funk, soul and r&b sound bubbling over the broth pot's lip that was Westbound Records, Detroit. Now working from the original master tapes at the iconic 54 Sound studio in Detroit, the recordings have been restored and remastered, doing justice to a convergent, then not yet defined r&b sound.
Heartbreak (In A Really Good Way) (feat J Mahon) (3:12)
Caught In Your Web (feat Nicke Andersson) (2:14)
Swinging Party (feat J Mahon) (3:22)
Ride (5:01)
Maggot Brain (feat J Mahon) (4:03)
Common Stranger (feat Audrey Olleson) (4:27)
Review: Frank Popp Ensemble returns via its fourth studio album, recorded and produced in Spain throughout 2024. Known for their sleek combos of flared orchestration with retro soul motifs, Popp once again brings in a wide array of guest vocalists: Gerard Love, formerly of Teenage Fanclub, on the strings-laced rework of his own deep cut 'Save' from 2004; then Nicke Andersson (The Hellacopters, Entombed, Imperial State Electric) on 'Caught In A Web', a high-energy Northern soul workout reproduced in full Magic Touch style. An impeccably done cinematic indie soul rouser, wrestling the nubby essence of a sound to the ground.
Review: This 50th Anniversary Edition resurrects a forgotten gem of 1970s soul-jazz, showcasing the masterful arrangements and musicianship of The Harold Wheeler Consort. It's a thrilling colliision of jazz harmonies, funk grooves and soulful melodies, with Wheeler's piano leading the way through a series of vibrant and eclectic compositions. From the infectious energy of the title track to the smooth sophistication of 'Then Came You', the album is a testament to Wheeler's talent as a composer and arranger. The B-side continues the journey, with tracks like 'Color Me Soul' and 'Feel Like Makin' Love' showcasing the band's versatility and deep understanding of soul and jazz traditions.
Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.
Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.
Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.
Review: Ice's early work captures a pivotal moment in funk's evolution, weaving together taut grooves and vibrant African-inspired rhythms. Recorded during the band's formative years, the music brims with raw energy and creative ambition. Polished basslines drive the tracks, while percussion bursts with a vitality that speaks to their Parisian influences at the time. Horn stabs and tightly wound guitar lines add layers of complexity, and the occasional vocal inflection injects a sense of urgency. With each listen, the production reveals new texturesismall details that elevate the record beyond its era.
How Do I Let A Good Man Down? (instrumental) (2:57)
Natural Born Lover (instrumental) (3:03)
Stranded In Your Love (feat Lee Fields - instrumental) (6:05)
My Man Is A Mean Man (instrumental) (3:19)
You're Gonna Get It (instrumental) (4:53)
How Long Do I Have To Wait For You? (instrumental) (2:57)
This Land Is Your Land (instrumental) (4:35)
Your Thing Is A Drag (instrumental) (3:35)
Fish In The Dish (instrumental) (3:15)
All Over Again (instrumental) (4:41)
Review: Brooklyn's Sharon Jones & the Dap-Kings were already underground legends by 2005, but this was the release that blew the doors wide open. Reissued here in a 20th anniversary remaster with full instrumental versions, it captures the group in peak form: tight, defiant and dripping with groove. From the snarling funk of 'My Man is a Mean Man' to the gospel-inflected ache of 'Stranded' and the rolling swagger of 'You're Gonna Get It', every track is a showcase for Jones' irrepressible power. 'How Long Do I Have to Wait For You?' and 'This Land is Your Land' still hit like soul standards, while 'Fish in My Dish' and 'Your Thing is a Drag' lean into grit and grind. The instrumentals only deepen the appreciation: pure rhythm section muscle. Recorded in Bushwick's now-legendary House of Soul, it's the record that built the Daptone soundiand lit the fuse for a soul revival that still resonates today.
Review: Behind the unassuming monotone cover of Colours, Judy Bailey's 1976 electric soul-jazz masterpiece, lies a richly textured, spirited recording that defies its minimalist presentation. A central figure in Australian jazz for over 70 years, pianist and composer Bailey captured the shifting jazz landscape of mid-70s Australia with Colours, a pivotal album in the country's transition from semi-acoustic jazz to electric jazz-funk. Often compared to the smooth production of Creed Taylor's CTI label, Colours features crisp drums, processed bass, and soul-jazz arrangements akin to those heard on Bob James and Joe Farrell albums, while also incorporating influences from the sensual vocals of Flora Purim and the lively flute work of Hubert Laws. Bailey's fusion of these elements with her own signature style creates a warm, sophisticated atmosphere. Tracks like the funky 'Fall Down Dead', the Latin-tinged 'Toledo', the vibrant 'Colours of My Dream' and the expansive 'The Eleven Eight Song' showcase her ability to blend genres seamlessly. With contributions from saxophonist and flutist Ken James, the album's grooves are both refined and raw, adding to its timeless appeal. Now reissued by The Roundtable, this seminal Australian jazz recording is available on vinyl in a replica gatefold sleeve, allowing new listeners to experience its vibrant energy firsthand.
Review: Ekoya is the fourth album from Jupiter & Okwess and it marks a new chapter in their sound as they embrace Congolese funk, rock, Afropop and Latin influences. This record was conceived during a South American tour and recorded in Mexico so reflects a cross-cultural fusion that's deeply rooted in African history and features collaborations with artists like Flavia Coelho and Mare Advertencia. Along the way, the music tackles themes of change, resilience and the global challenges we face so tracks like 'Selele' and 'Orgillo' fuse political commentary with big rhythms. Through a great mix of languages, rich instrumentation and powerful messages, Ekoya is a wonderfully worldly celebration.
Review: A vibrant blend of political anthems and dancefloor-ready grooves, Gerson King Combo's 1977 album is a powerful and funky testament to the Black Rio movement which linked South America to the street culture of the black America emerging in the 70s. 'Mandamentos Black' sets the tone with its message of racial pride and infectious rhythm, while 'Just For You' and 'Andando Nos Trilhos' showcase a more soulful side to the band. The album's energy is undeniable, with tracks like 'Esse E O Nosso Black Brother' and 'Swing Do Rei' guaranteed to get bodies moving. On the flipside, 'Hereditariedade' and 'Foi Um Sonho So' offer moments of introspection, while 'Uma Chance' and 'God Save The King' deliver powerful messages of hope and unity. 'Blows' closes out the album with a funky flourish, leaving the listener wanting more. This is a must-have for any fan of Brazilian funk and soul, a timeless classic that continues to inspire and uplift.
Review: Few sounds transcend time like Afrobeat, and few artists defined it as profoundly as Tony Allen who has long been the genre's legendary heartbeat. In 2011, Allen recorded a masterful rhythmic session for Comet Records' Afrobeat Makers Series where his drumming, unconstrained and deeply expressive, speaks a universal truth through its unique cadence. On this album, La BOA-La Bogota Orquesta Afrobeat-engages Allen's legacy in a remarkable dialogue led by Daniel Michel. The Colombian band blends Afrobeat's essence with their unique rhythms and merges Caribbean beats, Pacific grooves and Andean influences into a fittingly lively tribute and a seamless cultural exchange where Bogota meets Lagos.
Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
Review: Billed as a jazz-funk obscurity by many an expert, the 1984 self-released album by John Lamkin charts the trumpeting and flugelhorning talents of a lesser-spotted Maryland jazzer. Never again releasing a record after this debut for GMI, this shockingly varied record was dedicated to Lamkin's father, also named John Lamkin. Commanding a star cast of instrumental contributors - the likes of Gary Thomas, George Gray and Eugene Mauro - Lamkin would not achieve so much fame as those listed above, and yet brought a timelessly torrid fusion of funk and jazz here. 'Hot' is especially crispy and combustible, and we're not sure why it didn't blow up when it came out; you could fry an egg on that bass lick.
Review: The collaboration between the hip-hop godfathers and Afrobeat's explosive rhythms is nothing short of electrifying. After the session in Harlem, the project moved to Prince Fatty's studio, now in South East London, where the rhythm section was filled out by two key members from Seun Anikulapo Kuti's band, Egypt 80. Akinola Adio Oyebola and Kunle Justice's enthusiasm brought an authentic Nigerian Afrobeat vibe to the music, setting the stage for a unique fusion of revolutionary poetry and progressive jazz. UK-based jazz talents like Joe Armon Jones, Kaidi Tatham and Courtney Pine joined in to create a vibrant soundscape. With live, non-sampled instrumentation and impeccable mixing from Prince Fatty, the music feels as groundbreaking as the Poets' lyricsiperfectly capturing today's eclectic musical tastes.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.