Review: Soul and jazz meet head to head on this new LP from Hot Casa, to truly bring the two genres into their natural alignment. Hola Adisa Farrar is a vocalist who hails from California via Jamaican roots, while Florian Pellissier brings though his Parisian jazz stronghold, and the pair lay down some unmissable Dingwalls-reminiscent gems. In fact, this is the perfect sort of album for those diggers looking for that perfect jazz-funk record, the one that slipped away; the drumming across all of the tracks is hypnotic but changes enough to retain that mysticism, the pianos glide over the melodies in a delicate but playful way, and Farrar's vocals are an utter beauty spilled all over the rhythm. A must have, and a warmly recommended album. Supported by Mukatsuku.
Gustav Brom Orchestra - "Calling Up The Rain" (5:32)
Frederic Rabold Crew - "Ride On" (3:28)
Stan Kenton & His Orchestra - "Samba De Haps" (3:56)
Larry Rose Band - "The Sand" (5:25)
Review: The concept behind this new collection on BBE is a simple but effective one: sommelier Frederic Beneix has picked out a selection of wines, and beat maker DJ Cam has dug deep to serve up some rare but fitting musical accompaniments that were produced in the same year. Wine4Melomanes, therefore, is a unique collection of sounds from all over Europe that connects the complexity and sensuality of a tipple with the rhythm and melody of a song. Most are lush and sophisticated jazz cuts that sound good whether you're drinking or not. Delicious.
Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.
Review: Critically acclaimed jazz pianist and composer Joel Fairstein hails from Knoxville, Tennesee. He was just 24 years old in 1978 when he recorded his debut album Umbra with an ensemble of 18 different sidemen. It has since become something of a collector's piece and now gets its first ever worldwide reissue after first being released on a private label. The fantastic jazz fusion sounds have been transferred directly from master tapes so sound superb. It's a soothing, mellifluous album that has aged to perfection with piano jams like 'Tn' next to funky workouts like 'Womanized.'
There's Nothing More Human Than Failure (interlude) (1:21)
Bad Woman (2:37)
Cry On The Dance Floor (4:12)
Say My Name (2:50)
Let It Ride (3:10)
The Big Bang Ending (interlude) (3:51)
Eat Shit & Die (2:42)
Divorce (1:30)
Hate When You're Happy (3:52)
Enjoy Yourself (2:43)
I Am Enough (3:55)
Mirror To Mirror (interlude) (0:43)
Already Broken (3:54)
Review: The famously fun loving and colourful pop queen Paloma Faith shows a whole new life with her latest album The Glorification Of Sadness. As the title suggests, it is a captivating exploration of melancholy transformed into artistry with her signature soulful vocals and emotive delivery from and centre. They find Faith navigate themes of heartbreak and resilience with raw honesty and theatrical flair as each track unfurls like a cinematic journey adorned with lush orchestration and poignant lyricism. It's an album of bittersweet beauty. From the haunting to the empowering, always with a poignant narrative that celebrates the complexities of human emotion.
Review: The Globeflower Masters Vol 1 is a new Mr Bongo release that has been put together with classic soundtracks, 70s library music and cinematic compositions in mind. It was assembled in summer 2020 by Brightonian musicians Glenn Fallows and Mark Treffel who drew on their arsenal of vintage synths, pianos, 'other fun toys' and all manner of drums, guitars and bass. The result is a soothing album that will work in the dead of winter as well as the light of the summer thanks to its warm sounds, lush productions and luxuriant arrangements. A fine piece of wax, for sure.
Review: The Family Tree's transcendent disco gospel classic We Shall See Him As He Is gets a special and much-deserved reissue here for Record Store Day 2024. It originally debuted in 1979 and since then has grown in stature as a soulful delight that embodies the vibrant gospel disco scene of Baltimore. With original copies commanding prices exceeding $300, this reissue means you can cop it for a reasonable price and revel in its rare gospel charms. Tracks such as 'Psalm 150' and a captivating disco rendition of Stevie Wonder's 'As' are standouts. This one has been remastered and comes on nice on heavyweight vinyl.
Donald Byrd - "You Gotta Dig It To Dig It" (13:35)
Review: Three Trumpets was recorded in 1957 and released on the New Jazz label. It features the Prestige All Stars led by revered trumpeters Art Farmer, Donald Byrd, and Idrees Sulieman and supported by a solid rhythm section of pianist Hod O'Brien, bassist Addison Farmer, and drummer Ed Thigpen. This sublime album includes five original compositions, one each by Farmer, Byrd, and O'Brien, and two by Sulieman. While none of the tracks became hits in their own right and with 'Palm Court Alley' being a blues delight, they all offer up dynamic performances and impressive interplay among the brass musicians.
Review: With a current tour including a date at London's Brixton Academy, it's safe to say that this New Zealand seven piece are big news. This could have something to do with the universal good times vibes of their output. Here, the self-proclaimed 'heavyweight soul providers' are back with album number three and it sees them delve pushing their sound deeper into the realms of Afrocentric, dubby electronica. Highlights include the brassy, sunny ska of the title track, "Blackbird", the electro-funk of "Silver & Gold" and the pulsating digital disco of "Never Moving".
Review: Fresh Squeeze is a brand new full-length from Miami-based soul jazz trio Fat Produce, an outfit that is comprised of guitarist Addison Rifkind from The Soul Vaccinators, drummer Michael Duffy and world-renowned bass player Rene Camacho. All 14 of these cuts are soul-drenched and jazz instrumentals steeped in funk and hip-hop traditions and they were all made live and in the moment with no overdubs after the event. That lends the record a lived-in and authentic energy as it veers into Afro-tinged sounds like 'Affrentic,' straight-ahead soul-jazz cuts like 'Sticky Beets' and the compelling 'Slick.'
Review: Who knew the Federal Bureau of Investigation maintained a front as a funk band? FBI (which supposedly stood for Funky Bands Inc., or so those investigative bureaucrats would like to claim) allegedly consisted of such false identities as Herscel Holder, Lloyd Smith, Lennox Meade and Raffi Pereira, and - in a startling move of the establishment co-opting counterculture into its own milieu - has its lead track decry the FBI. "You can't hide, so stop your supercoolin' groove, baby," urge the undercover feds. We don't buy it, FBI, but perhaps you will!
Review: Thanks to an upsurge in interest in zouk, the synthesizer-heavy tropical style that emerged from the French Antilles in the early 1980s, reissues of superb but hard to find gems from the style's original heyday are becoming increasingly popular. This one from Strut Records is a peach. Originally released in 1988, "Las Pale" is the sole album from Feeling Kreyol, a female trio from Guadeloupe assembled and produced by local studio buffs Darius Denon and Frankie Brumier. It remains a brilliantly effervescent and colourful set, with the trio adding strong and attractive to distinctively tropical drum machine rhythms, shimmering synths, kaleidoscopic melodies and jangling guitars. In other words, it's a giddy blast of electronic tropical brilliance. Don't sleep.
Review: American jazz keyboardist Hilton Felton, who also recorded a superb album as The Three of Us which is also being reissued right now, dropped his most classic full length A Man For All Reasons in 1980. It came on his own label and the reason it is so well thought of is that it has become a real staple of the rare groove scene thanks to how much of it get splayed by DJs and how many key collectors have it on their racks. This reissue, with an all new remastering, arrives via P-Vine with gems like the standout jazz funk gem 'Bee Bop Boogie' one of many of its tunes that are still rare groove classics.
Review: Lance Ferguson's work with The Bamboos and Menagerie has been critically acclaimed, but he is just as essential as a solo artist.This new release is a freshly scored soundtrack for the 1981 French film of the same name. It was a romantic thriller directed by Leroi Alarie that was once thought lost until a 35mm print was recently discovered. Alarie was dissatisfied with the original score so asked Ferguson to compose new music for the film ahead of its restoration and re-release. Ferguson's dreamy, instrumental funk sound does a great job of capturing the film's sun-drenched atmosphere and subtly infuses it with 80s vibes next to more contemporary sounds. It's fair to say that the soundtrack very much enhances this rediscovered European arthouse gem.
Review: Ferry Djimmy is quite the character - he is a mysterious Afrobeat figure who also was a former schoolteacher, boxer, Jacques Chirac's bodyguard, and well as being a legendary Beninese musical visionary. He recorded this album sometime in the mid-1970s in support of the revolutionary leader of Benin at the time - Mathieu Kerekou. A fire is reported to have turned all but 200 copies to dust so it is mega rare and expensive to get an original. Acid Jazz reissues it here in all its fiery, lo-fi, gnarly Afrobeat glory. This is a fully licensed project with all new and in-depth sleeve notes by Florent Mazzoleni.
Review: 17 albums deep and Lee Fields still has something to say. Arm in arm with longstanding band The Expressions, the troupe dig deep an impeccable roll of soul: The soft harmonies and yearning horns of "I'm Coming Home", the light electronic elements on the rhythm of the hazy, laidback torch song "Never Be Another You", the swooning blues of "Let Him In", the almost highlife sparkle to the guitars on "Where Is The Love"... Each of the ten tracks hits with a freshness, energy and realness that few - if any - 70s troubled troubadours could muster. Essential.
Review: Ella Fitzgerald will forever be a legend in the jazz world thanks to her unparalleled vocal talents and ability to infuse jazz with deep emotion. Released in 1962 and reissued here, Take Love Easy pairs Fitzgerald with the exceptional pianist Bill Evans and together they make for a sophisticated and intimate atmosphere. Featuring a selection of lush ballads and smooth, understated jazz standards, this record highlights Fitzgerald's delicate phrasing and expressive delivery with songs like 'Don't Be That Way' and 'Gee Baby, Ain't I Good To You'.
One For My Baby (And One More For The Road) (4:18)
Who's Sorry Now (3:24)
I'm Getting Sentimental Over You (2:37)
Reach For Tomorrow (2:24)
Review: Ella Fitzgerald remains one of the most prominent voices in jazz and her album Let No Man Write My Epitaph, released by Acoustic Sounds in the early 60s, showcases the timeless brilliance of the legendary star. This new reissue on nice heavyweight wax from Verve brings forth the magic of Fitzgerald's voice in its purest form and allows you to revel in the emotional depth and vocal mastery that marked her career. With exquisite arrangements, poignant lyricism, and Fitzgerald's unparalleled delivery, the album captures the essence of jazz as a living, breathing art form. What's more, Acoustic Sounds ensures a high-fidelity experience making this an even more essential trip into the enchanting world of Ella Fitzgerald.
Review: Ella Fitzgerald and Louis Armstrong came together first of all for their 1956 album Ella and Louis. Just a year later, the enduring jazz icons hooked up once more on Verve Records for the simply titled Ella and Louis Again. It was recorded at Radio Recorders and Capitol Studios in Hollywood and where their first album was all duets, this one features seven solo vocal tracks by either Armstrong or Fitzgerald amongst its dozen duet tracks. Louis only played trumpet on six of these tunes but there was such a vibe between the two artists that it was never seen as an issue.
Review: Acclaimed French DJ, producer and multi-instrumentalist with FKJ has long been a favourite amongst lovers of jazz, soul and broken beat. His first album French Kiwi Juice from back in 2017 took us deeper than ever into his unique world and along the way he paid homages to his inspirations with a real sense of musical maturity. It is a warm, sensuous place to be even now with elements of contemporary jazz, synth-pop, nu-disco, funk and more all taken in and churned out. This limited edition reissue is well worth picking up.
Review: FKJ's glossy brand of instrumental funk and soul has reached many a great height, so now it's high time we looked back on the artist's roots. 'French Kiwi Juice' was his first album, showing off the artist's incredible multi-instrumental chops. Super-sweet yet also tart sonic juices from the Franco-New Zealander, returning to this exclusive vinyl pressing.
Review: Vincent Lemieux and Guillaume Coutu Dumont are the producers who combine as Flabbergast and now they unveil their full-length debut, Consolation in Constellation. As you would expect from those two artists, it is a boundary-pushing journey through sound that is rooted in improvisation, classical training and deep electronic exploration. The album fuses jazz, acid house, breakbeatand cosmic textures into a seamless exploration that adds up to a sonic constellation-carefully composed, yet full of spontaneity. 'Binary Star' is like IDM, minimal and electro all distilled into a siren new sound, 'Orion Belt' is rich in pixel thin pads and glinting chords and 'Phaser' is a slithering, high speed electro workout from another world and with a playful charm despite its highbrow design.
Roberta Flack & Donny Hathaway - "Where Is The Love" (2:42)
Killing Me Softly With His Song (4:45)
Feel Like Makin' Love (2:55)
The Closer I Get To You (with Donny Hathaway) (4:34)
Back Together Again (with Donny Hathaway) (4:40)
Making Love (3:39)
Review: Roberta Flack's Now Playing album is a testament to her enduring artistry. Blending her signature soulful vocals with a timeless elegance, it showcases Flack's emotive range across a selection of jazz-infused tracks, each imbued with depth and intimacy. From the sultry allure of 'Hey, That's No Way To Say Goodbye' to the classic heartache of 'Killing Me Softly With His Song' via the devastatingly emotional 'The First Time Ever I Saw Your Face', Flack captivates with her effortless storytelling and vocal prowess. Now Playing not only reaffirms Flack's status as a legendary interpreter of sonl but also highlights her ability to connect deeply with listeners through music that transcends generations.
Review: This Record Store Day, The Flirtations are back with Still Sounds Like the Flirtations, their first album of new material in 55 years. Renowned for their 1969 hit 'Nothing But A Heartache', which spent 14 weeks on Billboard's Hot 100, the group toured with icons like Stevie Wonder and The Four Tops. Their signature song remains a Northern Soul classic, remixed in 2022 by Tobtok and Oliver Nelson. Produced by Ben Rice, the album delves into their life stories, drawing from personal, social, and political experiences and was recorded across Abbey Road, Resident Studios, Degraw Sound, and Creative Workshop, with many standout tracks showcasing timeless perspectives on love and life.
Review: We've been waiting on this one since "J&W Beat" six years ago; there's something about Floating Points sound that instantly lends itself to full-length album immersion. It's clear he feels this way too; using the album to delve deeper into electronic deconstructions and delicate ensemble arrangements. At its most adventurous and contemporary classical "Argente" is up there with Frahm, at is dreamiest and jazz-influenced "For Marmish" is a deeply cosmic affair with disparate chords making more sense than they perhaps should. At its most traditional Floating Points we hit the finale "Perotation Six" where the brushed drums are buried under layers of sound and elements in a way that's not dissimilar to Radiohead. Well worth the wait.
Review: Last October, acclaimed saxophonist Pharoah Sanders turned 80 years young, and his input on this album is testimony to the fact he has clearly aged like a fine wine. Not that this is to suggest preceding outings were anything less worthy than this collaborative project, which sees Sam Shepherd, the British electronic artist better known to most as Floating Points, write nine spectacular arrangements which are then performed by said brass legend, alongside The London Symphony Orchestra.
The results are spectacular, and wildly far-reaching, albeit firmly rooted in jazz with classical undertones. From the movements that made this final cut, some are whisper quiet and delicate to the point of risking breaking off if you were handling haphazardly. Others are booming loud, musical jumbo jets landing at the end of another great crescendo. Whether hushed or monumental, though, we can feel every note and bar of this masterpiece.
Review: Over the years, Sam Shepheard's work as Floating Points has become increasingly ambitious, moving further away from his dancefloor roots and closer to spiritual jazz, new age and neo-classical. Even so, it was still a surprise when Shepheard announced Promises, a 46-minute piece in 10 "movements" featuring the London Symphony Orchestra and legendary saxophonist Pharoah Sanders. It's an undeniably remarkable piece all told; a constantly evolving fusion of neo-classical ambience, spiritual jazz and starry, synthesizer-laden soundscapes notable not only for Sanders' sublime sax-playing and Shepheard's memorable melodic themes, but also the intricate, detailed nature of the musical arrangements. It's a stunningly beautiful and life-affirming piece all told, and one that deserves your full attention.
Review: Jazz has always been as much about great collaborations as anything else and that is very much the case with the modern scene. Proving that is Flock, a new coming together of five talented musicians Bex Burch from Vula Viel, Maisha's Al MacSween, Sarathy Korwar, Dan "Danalogue" Leavers and Collocutor's Tamar Osborn. They got together for the first time in March 2020 for a Boiler Room show and some memorable streams during lockdown. Strut Records were listening in and managed to get them in the studio together to try something fresh. The resulting improvised sounds focus on "breathing and listening to each other", explains Bex Burch. It makes for a wild, innovative ride.
No One Is Spared Who Goes Down The Deep Well (2:00)
Dance Until You Shatter Yourself (2:25)
A Thousand Miles Lost (3:47)
Capillary Waves (3:25)
Edge Of Empty (5:49)
Review: UK supergroup Flock returns with their highly anticipated second album, Flock II. Featuring Bex Burch, Sarathy Korwar, Tamar Osborn, Danalogue and Al MacSween, this new record pushes creative boundaries with fresh tracks born from their magnificent collective spirit. Unlike their debut, Flock II was recorded over a week in 2022 in the serene Welsh countryside using inventive "jump-off" devices like shape-based diagrams and strobe effects to inspire each composition. Set in a converted country church, the resulting soundscapes are both intense and hypnotic as they weave together a personal journey through their most atmospheric sounds.
Review: Greg Foat is something of a musical polymath, with his various solo and collaborative albums touching on everything from spiritual jazz, library music and soundtrack sounds, to Balearic beats, jazz-funk and deep house. On Psychosynthesis, his first solo set for two years, he largely keeps things warm, chilled and dreamy, joining the dots between horizontal jazz-funk, exotica, Balearica, and sensuous sun-down sounds with the aid of a vast battery of analogue and modular synthesizers. The results are predictably impressive, with the album's many highlights including the spacey, slo-mo shuffle of 'Underwater Fantasy', the throbbing, Sun Palace-esque starry jazz-funk of 'Psychosynthesis (Part 1)', the gaseous ambient drift of 'The Green Odyssey' and the Wally Badarou style warmth of 'The Investigation'.
Review: The Fish Factory Sessions is a captivating live studio recording from the dynamic pairing of Greg Foat and Gig Masin. It features two brand-new compositions and two reimagined versions of tracks from their previous album, Dolphin. It was recorded at the namesake Fish Factory Studios in London with Moses Boyd on drums and Tom Herbert on bass. The four pieces are lavish and expansive with free-flowing sax melodies and tingling keys that bring to mind sun reflecting off glistering Mediterranean waters. It's happy, sombre, and beautiful, often all at once.
Review: The Italian jazz scene of the 1970s turned up many gems but this is one of its lesser known treasures. It's an interesting and unusual collection from Folk Magic Band which was made up of 18 different members. They had their own alt set up in a Rome studio and were inspired by the free jazz movement of the day. As such there are pan-ethnic motifs next to the spiritual jazz of Pharoah Sanders and the wild orchestrations of Sun Ra and his Arkestra. It's intense and hard hitting in its quest to explore new musical ground.
Review: The vast and ongoing Blue Note reissue series continues apace her with organist Ronnie Foster's Two Headed Freep album. Foster was a master collaborator who worked with everyone from George Benson to the Jacksons to Stevie Wonder (an in fact played the keys on Songs In The Key Of Life.) But it was his work on Grant Green's funky live LP Alive! in 1970 that caught the attention of the Blue Note boss who tapped him up for this label debut two years later. It is a vibrant seton tunes with five originals as well as covers of the likes of Al Green. Kevin Gray has mastered it from the original tapes and it has been pressed on 180g vinyl at Optimal.
Between The Sheets (feat Chaka Khan & Nathan East) (6:35)
Li'l Darlin' (5:08)
Flying East (5:48)
Once In The AM (6:20)
Gulliver (6:47)
Amoroso (5:48)
A Summer Child (5:23)
Anthem (5:28)
Song For Somalia (6:36)
Tokyo Rain (4:44)
Review: Between The Sheets gets a special 30th Anniversary remaster here. The celebrated 1993 album by smooth jazz group Fourplay, featuring Bob James on piano, Lee Ritenour on guitar, Nathan East on bass and vocals, and Harvey Mason on drums) is a hallmark of smooth jazz greatness that earned gold certification and charted at No. 2 on Billboard's Top Jazz Albums and No. 15 on Top R&B Albums. Known for tracks like the Isley Brothers' remake 'Between The Sheets' with Chaka Khan, and the lively 'Amoroso,' it also includes Bob James' elegant 'Chant.' This anniversary edition comes on 180g double vinyl, remastered from original tapes, with a gatefold sleeve and new liner notes by Charles Waring.
Review: Following a pair of well-received albums on Juicebox Recordings (not to be confused with A Guy Called Gerald's 1990s label of the same name), self-styled "nu-funk" duo Franc Moody have transferred to Night Time Stories for the release of new album Chewing The Fat. Like its predecessors, it blends a left-of-centre, Hot Chip style sensibility with colourful and nostalgic synth sounds, disco strings, good grooves and nods aplenty to both 21st century electronica and the Halcyon days of synth-funk in the 1980s. The results are frequently superb, with highlights including the throbbing-but-sparse 'Square Pegs In Round Holes', jaunty opener 'Driving On The Wrong Side of the Road' and the blissful, tactile and string-laden nu-disco bounce of 'Bloodlines'.
Review: "A revelatory blast of soul, R&B and off-the-rails piano jams". Rolling Stone magazine could not have been much clearer in its recommendation of Plain Sight. Neal Francis' second album, released in 2021, nodded to everyone from George Clinton to Sly and the Family Stone, Curtis Mayfield to Prince. It was pop songwriting in the truest sense - free and experimental yet somehow universally enjoyable and captivating. The third, Francis Comes Alive, offered, not more of the same, but equally generous helpings of funk-infused, r&b topped soul-groove with a lashings of overbite. Now Return To Zero proves those were no flukes. That familiarly unpredictable yet soothing Francis sound is more refined and elegant than ever, but still seems to want to take you towards the hazy neon glow of a backstreet dancefloor long after dark.
Review: 'Independance Cha Cha' was something of a historic anthem that immortalised Congo's independence and marked the debut release from a Congolese-owned record label, Surboum African Jazz, under the guidance of Joseph Kabasele. This pioneering move sparked a wave of new record labels in 1960s Kinshasa, led by the era's many musical luminaries. Planet Ilunga's Les editeurs Congolais series pays homage to these trailblazing label owners, starting with this, Les Editions Populaires, founded by Franco Luambo Makiadi in 1968. This compilation of 16 tracks from its early years showcases Franco's vision, spanning rumba, Lingala ballads, Kikongo traditionals, and even Yoruba influences, alongside American funk pastiches.
Review: Before Aretha Franklin made her mark with stomping southern soul in the late 60s, she had already built a diverse career. Beginning as a gospel singer, she spent the early 60s recording in various genres, with mixed success. These early recordings with the Ray Bryant group present her as a jazz vocalist, reminiscent of Sarah Vaughan or Ella Fitzgerald. Tracks like 'Ain't No Way' and 'Take a Look' capture her ability to blend effortless technique with deep emotion. The sessions are pristinely recorded with no overdubs, allowing Franklin's voice to shine in its purest form, proving her talent in jazz long before she became an icon of soul.
Mobbin' For A Hobby (feat Planet Asia & Waz) (2:34)
Closer (2:15)
Trapped (feat Pink Siifu) (2:28)
Intermezzo (0:40)
2night (1:26)
Rings Around Saturn (2:00)
The Maxi-Single (feat Planet Asia) (2:06)
Omnichord (1:40)
Spark Lah (feat Blu November) (2:41)
Outro (2:37)
Trapped (instrumental) (2:27)
Review: Fredfades is a well-regarded modern beatmaker and master sampler who crafts soul drenched and atmospheric hip-hop. For this new record on Mutual Intentions outta Norway he works with Sraw to hypnotic effect. Right from the off, the dusty vibes and lo-fi aesthetic is heartwarming and a perfectly laid back tonic to busy modern lives. Guess like Planet Asia & Waz, Pink Siifu and Blu November add their own character to this spaced-out and stoned late-night listening companion. It might be one of Fred's best yet.
Review: Free Nationals released their debut album back in 2018. The LA-formed R&B collective comprised of Jose Rios, Ron "T.Nava" Avant, Kelsey Gonzales and Callum Connor are best known as being the backing band for Anderson .Paak but also make grooves just as tight on their own. This debut was packed with top guests such as .Paak himself as well as Mac Miller and Kali Uchis and it was nominated for Best Progressive R&B Album at the 63rd Annual Grammy Awards. It mixes up classic R&B with twists of funk and soul greats like Stevie Wonder.
Review: Breaking the Shell is an innovative new release from a top trio formed of drummer Andrew Cyrille, guitarist Bill Frisell, and pipe organist Kit Downes. Their much anticipated album features a rare and captivating blend of instruments including things such as electric guitar, pipe organ, and drums and therefore offers a fresh sound across 11 new cuts. The collaboration creates a meditative exploration of sound along the way and that allows these three visionary musicians to explore new dimensions of creativity and expression at every turn.
Review: Frollen Music Library is a premium sample library and production house focused on live ensemble recordings and analogue production techniques. Drawing inspiration from the 60s and 70s - which is of course - the era that shaped hip-hop sampling, it provides producers with accessible, high-quality sample packs. Founded by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are all active members of Melbourne's soul scene, the library offers a rich collection of sounds perfect for film, television and music productions. It's an essential resource for fans of artists like David Axelrod and Ennio Morricone and also makes for a good standalone listen.
Review: Frollen Music Library is a high-quality sample library and production house specialising in live ensemble recordings and analogue production techniques. It has a creative process rooted in a love for 60s and 70s music, the foundational sounds for hip-hop sampling, so offers producers easy-to-use sample packs. Created by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are members of Melbourne's soul scene, Frollen Music Library is a rich sound source for productions and compositions in film and television and a go-to resource for fans of artists like David Axelrod and Ennio Morricone. It also works as an evocative mental trip when listened to from back to front.
El Expresidiario (feat Humberto "huango" Muriel) (2:49)
Bang Bang (El Tiroteo) (3:07)
Langaruto (feat Humberto "huango" Muriel) (2:29)
Todo Es Todo (feat "Piper Pimienta" Diaz) (3:20)
Oriza (feat "Piper Pimienta" Diaz) (4:20)
La Chica Del Barrio Obrero (feat "Piper Pimienta" Diaz) (3:22)
Perlas Negras (feat "Piper Pimienta" Diaz) (4:15)
El Dia Que Naci Yo (feat "Piper Pimienta" Diaz) (5:36)
Algo Pa' Goza (feat "Piper Pimienta" Diaz) (3:38)
Yo No Vuelvo A Querer (feat "Piper Pimienta" Diaz) (3:04)
El Coco (feat "Piper Pimienta" Diaz) (4:46)
Dame Un Break (feat "Piper Pimienta" Diaz) (3:34)
Canto A Panama (feat "Piper Pimienta" Diaz) (4:23)
Cumbia Bacana (feat "Piper Pimienta" Diaz) (4:45)
Pa' Los Bomberos (feat "Piper Pimienta" Diaz) (3:38)
Caifaz (feat Joe Arroyo) (4:29)
Va A Llover (feat Wilson Saoko) (5:10)
Fruko Presidente (feat Joe Arroyo) (3:57)
La Loteria (feat Joe Arroyo) (4:22)
Review: Given that it can be tricky to track down the original album releases by Colombian 'salsa drura' greats Fruko Y Sos Sus Tesos, this compilation from Vampi Soul makes an excellent introduction to their trademark sound - even if it is made up of 'deep cuts and rarities; from the band's releases on the iconic Discos Fuentes label. This is fiery, dancefloor-ready salsa from the era of psychedelic rock, and it's that aural colour and low-end heaviness that catches the ear throughout. There's not a duffer amongst the 20 tracks on show, which makes picking highlights tough. That said, our current favourites include 'Bang Bang (el Tiroteo', the effervescent 'Oriza', the horn-heavy cheeriness of 'Perlas Negras' and the richly percussive 'Canto a Panama'.
Review: Limpe Fuchs is most known for being something of a percussive genius. Here though she surprises in all the right ways with a trip into her classical roots and a pair of tracks played on the piano. Though her musical journey has been vast, recorded piano performances have been rare. Yet, on this 45rpm, she defies both time and anticipation, delving deep into the piano's soul. With rhythmic finesse honed as a percussionist, each keystroke bears her unmistakable imprint. Join Fuchs on this captivating late exploration of the piano world and you will be savouring every note of a distinct and unfiltered artistic encounter.
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