Back catalogue: Funk Soul & Jazz

Review: Excursions in Gwoka vol. 2 is another adventurous outing for the Beauty & the Beat label that takes them ever deeper into the gwoka scene of Guadeloupe. it is the celebrated carnival outfit Akiyo who are in focus here with two tracks taken from second and supremely hard-to-find long player, Mouvman, in 1993. 'Deboule' is a real heater with bustling drum funk and chatting tribal vocals all run through with synth wizardry from Marie-Galante Jacques-Marie Basses. 'Blo' is just as steamy and intern with percussion, whistles and big beats all making quite the impact. Breakplus adds a London twist to 'Deboule' while CW adds a cosmic air to 'Blo.'

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: This is another reissue of a record that remains an ongoing favourite. Original Gravity delivered again with the original pressing featuring two unique versions of 'Burning Spear'. Nestor Alvarez opens with a lively, Latin-inspired rendition filled with fluttering flute melodies, raw drum beats and vibrant dancing keys that radiate sunny energy. On the flip, La Machine D'Argent takes a more cosmic approach, smoothing the vibe and layering spaced-out sounds for a dreamy, immersive journey. This release showcases Original Gravity's knack for reimagining funk with flair by offering two distinct yet equally good takes on a timeless groove.

Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.

Review: The reissue of Joao Bosco's 'O Ronco Da Cuica' alongside Antonio Adolfo E A Brazuca's 'Transamazonica' captures a slice of Brazil's musical brilliance. Bosco's track, originally from his 1976 album Galos de Briga, pulses with vibrant cuica rhythms, soulful vocals, and delicate acoustic guitar. On the flip side, Adolfo's 'Transamazonica' is a stunning piece of Brazilian jazz fusion, rich with dynamic instrumentation. This release brings these timeless Brazilian gems to a new audience, reintroducing their infectious grooves and intricate musicianship.

Review: 'Imprevisto' by Bossa Tres and Ana Rosely's 'Skim Dum Dum Dum' receive well-deserved attention in their remastered reissue by Mr Bongo. Bossa Tres's track, featured as the final piece on their 1965 'Em Forma!' LP, stands out as an unmistakable Brazilian jazz classic. Opening with a dramatic intro and a hypnotic piano line, the song evolves with panned percussion and upright bass, showing the band's refined musicality honed from their early days touring jazz clubs in the USA. This 7" release marks a significant reissue of Bossa Tres's sophisticated sound in a concise format. On Side-2, Ana Rosely's 'Skim Dum Dum Dum' from 1984, originally released by RGE Discos, adds a different flavor with its infectious groove and enigmatic charm. Despite limited information about Rosely, her releases have become sought after for their rarity and musical quality. With 'Skim Dum Dum Dum,' her talent shines brightly within the unique style of Brazilian music. This remastered edition with refreshed artwork offers collectors and enthusiasts a chance to rediscover these gems of Brazilian jazz and music history.

Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.

Review: Windy City collective Future Rootz are all about mixing up worldly electronic sounds, Latin, tropical bass and global jazz. This second volume in their new series does just that with two expressive remixes of iconic Afro-Colombian tracks. On Side A, Sound Culture delivers a modern take on Son Palenque's legendary 'A Pila el Arroz,' which was originally composed by Justo Valdez for Palenque Records. He infuses it with fresh and bubbly bass and hypnotic vocal chants. On side-B, Afroqbano reimagines 'Tropical Scenes' by adding a vibrant, rhythm-heavy twist to the original that sympathetically blends traditional Afro-Colombian sounds with electronic influences into a wiggling bit of irresistible and sunny global fusion.

Review: Ahn Chi-haeng, a towering figure in Korea's gayo scene, made his mark in the 1960s through the 8th US Army entertainment circuit, later leading the popular 1970s soft rock band Young Sound. By the early 90s, he was a powerhouse in the music industry, known for his Midas touch as a producer. At the age of 60, Ahn shifted gears, embracing his Buddhist faith through a series of experimental sutra recordings. Unlike traditional sutra renditions, Ahn infused these spiritual texts with hip-hop beats and guitar riffs, making them both spiritually resonant and musically engaging. The 2004 release of these recordings, originally meant for a small Buddhist audience, found a second life a decade later when younger listeners discovered them online. This reissue, part of Beatball's effort to spotlight Ahn's extensive catalog, selects six standout sutras from the 2004 double CD. The tracks, including 'Hip Heart Sutra' and 'Mantra of Avalokiteshvara', are meticulously remastered by Dave Cooley, bringing new energy to the beats and ensuring these unique pieces resonate with both Ahn's original intent and today's listeners. This vinyl release offers a rare opportunity to experience Ahn's innovative fusion of spirituality and modern music.

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: Parsed into its unabbreviated form, title of Florence Adooni's vintage-sounding but brand new highlife record is an endearing reminder that togetherness should not be thought a luxury, but rather a human right and expectation, hence its ordinariness. Rooted in the rich traditions of Ghana's Fra Fra culture and propelled by cosmic production from Philophon Records' visionary Max Weissenfeldt, this release is a bold fusion of hereditary rhythms and fresh productions, proving that the convivialities often associated with traditional West African music need not be lost on the global situation of 2024. The standout here has to be 'Vocalize My Luv', a punchy track, with carnivalesque Afro-dance stylings and a resinous bass breadth charge, as Adooni sings powerfully of the innate human need for expression.

Review: Agustin Pereyra Lucena's 1980 album La Rana was recorded in Oslo and is a wonderful exhibition of his exceptional guitar interpretations of compositions by Ivan Lins, Antonio Carlos Jobim and his friend Baden Powell, all alongside his own original works including the 15-minute masterpiece 'Encuentro De Sombras.' Featuring bassist Guillermo Reuter, flautist Ruben Izarrualde and drummer Finn Sletten, La Rana blends South American rhythms with Norwegian landscapes and reflects Agustin's warmth, humility, and joyful connection to music and life and the title track is a standout that offers a unique rendition of Joao Donato's 'A Ra' from his 1973 album Quem E Quem.

Review: Yemenite music in Israel is a uniquely Middle-Eastern style born from the immigration of Yemenite Jews to Israel. Initially religious and ceremonial, the music featured separate male and female songs accompanied by drumming on olive oil tin cans. Aharon Amram, born in Sana'a, Yemen, immigrated to Israel as a child and became a central figure in this genre. From the 1960s onward, he released numerous records on Sounds of Yemen in which he blended traditional religious songs with his own secular compositions, Western electric instruments and modern arrangements. This double LP showcases Amram's diverse catalogue and undying influence on contemporary Mizrahi.

Review: Ana Frango Eletrico's first ever reissue, Little Electric Chicken Heart, follows up 2023's most recent record Me Chama De Gato Que Eu Sou Sua. Surfacing after Mr. Bongo were met with a string of requests to reissue the album not long after its original release in 2019, we're once more compelled to consider the album's merits and what makes the enjoyment of it tick. More of an establishment of style and talent than an exploration of a concept, the album is noted for its fusion of chamber pop, rock and samba, across a vintage palette that defies any overarching categorisation.

Review: Mayra Andrade's live album, recorded at Union Chapel, features the warmth and eclecticism of her music in an intimate setting. Known for blending Cape Verdean Creole, English, and Portuguese in her songs, she pulls from a variety of cultural influences to craft a sound that's truly global. Her live collaboration with guitarist Djodje Almeida, 'reEncanto,' takes listeners on a journey through her discographyifrom Navega (2006) to Manga (2019).Andrade's music dances between traditional Cape Verdean rhythms and contemporary beats, with touches of reggae, African soul and pop influences, making every performance feel both rooted and adventurous. Her voice, full of depth and color, effortlessly shifts between romantic ballads and playful, rhythmic tunes. A nomadic spirit is evident in her music as she reflects her life's experiences and travels. On stage, Andrade is stunning, and the energy she brings in this live recording transports listeners straight to Cape Verde's sun-drenched shores. For those unfamiliar with her work, this album is an ideal introduction to the vibrant, evolving world she's built through her music, full of passion and heartfelt storytelling.

Review: This album transports listeners to 1950s and 60s Colombia, where the tropical sounds of the Caribbean and Pacific coasts dominated the mainland music scene. Edmundo Arias, alongside Lucho Bermudez and Pacho Galan, was one of the pivotal figures of this era, yet his introverted nature kept him out of the spotlight, making his contributions less celebrated than his peers. Born in Tulua in 1925, Arias came from a musical family and mastered several instruments. After his father's death in 1948, he and his brother moved to Medellin, the epicenter of Colombia's music industry. Arias quickly established himself as a talented musician, composer, arranger, and band leader for leading labels like Zeida, Ondina, Silver, and Sonolux. Despite his preference for working behind the scenes, Arias' impact was profound, collaborating with numerous musicians and mentoring young artists. His prolific output included hundreds of compositions and numerous albums. This compilation, Guepa Je!, shows the finest of Arias' work from the 50s and 60s, a period often regarded as the pinnacle of his career. Enjoy the vibrant, joyous sounds of Colombia's tropical music heritage.

Review: The third studio album by the Nigerian artist Asake comes to vinyl through Empire, homing back in for a second time on the artist's pioneering flurry of several modish, "now" genre fusions for 2024. Asake has already garnered a name for himself as a neo-fuji artist, building on the classic Nigerian Yoruba dance genre in electronica fusion form, as well as incorporating elements of amapiano and funk. Lungu Boy was met with critical acclaim on its digital release, and now you can hear it in its fullest physical quality on marbled vinyl; the record's best moments have to be 'Worldwide' and 'Suru' featuring none other than British rap whiz Stormzy.

Review: Fela Kuti's Alagbon Close, released in 1974, stands as one of his most powerful Afrobeat statements, criticising police brutality in Nigeria. The title track was inspired by two raids on Fela's home, where police searched for marijuana. After swallowing a planted joint, Fela was detained at Alagbon Close, the headquarters of Nigeria's Criminal Investigation Department, for three days while police waited for evidence. His cellmates, in what became known as the Kalakuta Republic, helped Fela escape prosecution. Fela's lyrics denounce the arrogance of the police, declaring that wearing a uniform doesn't place one above the law. The album also marked the beginning of his collaboration with artist Ghariokwu Lemi, whose iconic cover art became synonymous with Afrobeat. Recorded at the A.R.C. Studios, the album is fueled by tight polyrhythms and fiery organ and horn sections, with Fela's sharp political commentary at the forefront. On Side-2, 'I No Get Eye For Back', offers a more groove-driven, mostly instrumental track, showing the collective talents of Africa 70. Together, these tracks solidify Alagbon Close as a timeless work of rebellion and musical innovation.

Review: At 88, Ebo Taylor, the legendary Ghanaian highlife and Afrobeat pioneer, made his U.S. debut at the Jazz Is Dead concert series, captivating audiences nationwide. This historic visit coincided with the recording of Ebo Taylor JID022, a groundbreaking psychedelic afrobeat album produced with Adrian Younge and Ali Shaheed Muhammad. Younge expressed the significance of this collaboration, likening it to working with Fela Kuti, emphasising the dream of capturing Ebo's essence on analog tape. The album features swirling horns, gritty guitars and polyrhythmic percussion reminiscent of Taylor's seminal 1970s work, alongside spiritually rich backing vocals that evoke a sense of nostalgia. Ebo's heartfelt lyrics, exploring themes of love, peace and spirituality, resonate with nearly a century of wisdom. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' impart life lessons on gratitude and divine provision, solidifying Ebo Taylor JID022 as an essential addition to his storied catalogue and a crown jewel for Jazz Is Dead. This release coincides with his eagerly anticipated tour across the Americas, showcasing the enduring legacy of a true musical icon.

Review: At 88, Ghanaian highlife and afrobeat legend Ebo Taylor made his first-ever journey to the US, performing in the Jazz Is Dead concert series. These shows, which sold out across the country, led to an unexpected and electrifying collaboration between Taylor, Adrian Younge, and Ali Shaheed Muhammad. The result is a psychedelic afrobeat album, recorded at Younge's Linear Labs studio, that's bound to thrill fans of both classic West African funk and afrobeat purists. The album channels the raw energy of Ebo's 70s recordings, with swirling horns, fuzzed-out guitars, and the unmistakable polyrhythmic percussion that made Taylor a revolutionary figure in African music. "Collaborating with Ebo Taylor is a bucket-list accomplishment," says Younge, likening the experience to working with another afrobeat pioneer, Fela Kuti. The analog recording style, embracing the gritty textures of 70s Africa, gives this album an authenticity that's impossible to ignore. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' exemplify Taylor's profound lyricism. His reflections on love, spirituality, and gratitude echo his decades-long career, while the ensemble of Ghanaian vocalists adds a spiritual depth that transports listeners back to his prime. Ebo's son, Henry Taylor, also features, proving himself a formidable talent in his own right. This album is not just a nod to the past but a crowning achievement in Taylor's enduring legacy. For connoisseurs of afrobeat, it's a standout moment in both Ebo's catalogue and the growing canon of the Jazz Is Dead series.