Our Hearts Didn't Go That Way (feat Durand Jones) (3:57)
Long Term Parking (3:05)
So Real (2:54)
Magazine (0:35)
Fight Or Fall (4:21)
Review: Brooklyn-based band 79.5 make music right now, rather than being some long-lost acts from the 80s as you might expect from the cover. The group consists of singer, songwriter and composer Kate Mattison, singer and rapper Lola Adanna, drummer Caito Sanchez, bassist Andrew Raposo and sax player and flautist Izaak Mills. Their self-titled album comes on Razor-N-Tape and captures the sound of New York City perfectly with soul and psychedelic melodies that are hard to match. From 70s underground disco to acid jazz to and sweet pop sounds, they draw on it all for this fine concoction of dancefloor gems, which also serves as a protest at the often all too male dominated world of dance music.
Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.
Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.
Akiko & Masayasu Tzboquchi - "Love Theme From Sparticus" (feat Mbanja Ritchy aka B-Bandj - Clear Day mix) (4:34)
Review: Tom Browne's 1980 single 'Funkin' For Jamaica' has long been something of an anthem - a hybrid funk/boogie classic that remains a staple in sets of hip-hop, disco and soul DJs alike. Given its ubiquity, covering the song is fraught with danger, but remarkably Japanese producer Akiko and guest vocalist Mbanja Richy have successfully put a new spin on it. Their take is subtly tougher and more synth-heavy, with bilingual French/English vocals, nods to Zouk music and a bassline so squelchy it could have been lifted from a P-funk record. Over on the flip, the pair go mellow, deep and laidback on a pleasingly skewed hip-hop soul cover of Terry Callier's legendary vocal interpretation of Alex North's 'Love Theme' from 'Spartacus'. Inspired stuff all told.
Review: Rashied Ali had a unique talent for transforming unlikely sound pairings into masterpieces. Following Interstellar Space with John Coltrane and Duo Exchange with Frank Lowe, he joined forces with violinist Leroy Jenkins for this album in 1975. Jenkins was fresh from the Revolutionary Ensemble and composed all pieces for this rare duet, which is now reissued on vinyl for the first time in nearly half a century. The deluxe set includes an unreleased session exploring standards, the sounds of Coltrane and some truly wild improvisations. A top treasure for jazz-heads.
Review: Ary Lobo hails from the North of Brazil and has been considered something of a master of vocal indigenous styles like Baiao, Coco, Batuque and other related genres ever since he dropped his first album Forro con Ary Lobo in 1958. He suffered from prejudices against his northern musical styles throughout his career but still managed to eventually make his mark and become a real favourite and now Analog Africa has put together this vital and limited edition 180 gram gatefold album Ary Lobo 1958-1966 which collects his most standout works from all across a key eight-year period. A fine overview of an important figure in the evolution of Brazilian music.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Tough Victory (3:11)
Space (2:32)
Raise It Up (2:37)
My Jamaican Dub (2:40)
I Need Somebody To Love Tonight (4:01)
Dirt Off Your Shoulder (2:53)
Getting Nasty (3:04)
Blow Your Cover (2:34)
Represent (3:23)
The Healer (2:50)
Les Fleur (3:20)
Squaring The Circles (3:29)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The latest must-cop record from the good people at Big Crown is a real summer special. Bacao Rhythm & Steel Band serve up some seriously soul-enriching grooves, with the impossibly warm and good time vibes that come from steel drums on each and every one. The beats are rooted in funk, with fat bass and expressive horn work bring each one to life. There are sojourns into dub, disco and jazz, and the whole thing bris with so much character and personality that it cannot but put a smile on your face.
Review: Ray Barretto's career as a Nuyorican conguero and bandleader brought together jazz, Afro-Cuban rhythms, and R&B into a groundbreaking fusion. His mastery shines through in the energetic ensemble performance, featuring trumpeters Roberto Rodriguez and Rene Lopez, bassist Bobby "Big Daddy" Rodriguez, and vocalists Pete Bonet and Adalberto Santiago. The opening track drives with a funky bassline, while the shifting rhythms of 'Sola Te Dejare' spotlight Barretto's mastery of mambo and guaracha. Captured in real-time without overdubs, the music channels the revolutionary spirit of Latin jazz and the vibrant New York-Puerto Rican experience.
B-STOCK: Record sleeve split/torn, record in great condition
Acknowledgement - A Love Supreme (part 1) (6:56)
Trane's Garden (5:34)
India (8:35)
Afro Trane (4:53)
Dahomey Dance (9:05)
Folk Song For Trane (3:33)
Review: ***B-STOCK: Record sleeve split/torn, record in great condition***
Nat Birchall is one of the finest contemporary sax players around, He can do it all, from solo albums where his instrument takes the lead in seductive suites of meditative jazz, to more cosmically mind work with a band via superb reggae fusions. After last year's well removed Ancient Africa he is back with a third all-solo outing that finds him playing all the instruments himself. It's an homage to the king of tenor sax, John Coltrane, as the title suggests, and included are classic 'Trane compositions 'Acknowledgement' from A Love Supreme, 'India' from his Impressions LP and 'Dahomey Dance' from Ole.
Review: Art Blakey and the Jazz Messengers' unforgettable 1958 concert at Club Saint Germain in Paris is finally available in full, spread across three LPs in red, white and blue, paying homage to France. This set brings together Lee Morgan's searing trumpet, Benny Golson's soulful sax, Bobby Timmons on piano and Jymie Merritt's steady bass, with Parisian local Kenny Clarke joining on drums for 'A Night in Tunisia.' The energy is electric and it's easy to hear why this performance took home the 1959 Grand Prix du Disqueiit's jazz history in action.
Review: A bold fusion of Afrobeat, funk and jazz on the debut LP from Blvck Spvde & The Cosmos, marking an exciting addition to Mello Music Group's catalogue. The album is steeped in legacy, with powerful rhythms and expansive arrangements, with tracks like 'Doom' revealing an intense, layered sound, while 'What You Won't Do' reinterprets a classic with introspective depth. All in all, there's a balance of forward-thinking jazz with hints of raw, soulful energy as the ten-piece ensemble capture the feel of St. Louis' live scene and a spirit that's truly timeless.
Review: Brooklyn Sounds' legendary 1972 album epitomises raw Nuyorican salsa dura with powerful trombones, unconventional piano and electrifying percussion all colliding in a scintillating fashion. This reissue of the band's sophomore release includes rare photos and liner notes and displays a confident, mature sound honed through live gigs, Blending barrio grit with Caribbean rhythm, tracks like the anthemic 'Libre Soy' and 'Ha Llegado el Momento' feature a nod to 'Moliendo Cafe' and have become dancefloor classics. Though their career was short-lived, Brooklyn Sounds' music gained global acclaim and saw them cementing their place in salsa history as pioneers of the independent 1970s New York scene.
Review: Saxophonist Marion Brown closed his chapter with Impulse! Records in the 1970s with this serene and vivid offering, featuring an impressive lineup of jazz talent. Drummer Ed Blackwell and bassist Reggie Workman provide a tight, responsive rhythm section, while Stanley Cowell's work on both acoustic piano and Fender Rhodes adds rich texture to the arrangements. Brown's own composition, 'Vista,' is a stand-out, bringing a blissful vibe, while the album also highlights other great selections, including a warm rendition of Cowell's 'Maimoun' and an introspective, meditative take on Stevie Wonder's 'Visions.' The tracks flow effortlessly, from the evocative 'Maimoun' and 'Visions' to the expansive, peaceful 'Vista,' before moving into the more complex 'Moment of Truth.' With 'Bismillahi 'Rrahmani 'Rrahim' and the intricate 'Djinji' rounding out the album, Brown's final statement for Impulse! remains as emotive as it was upon its release.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
I Don't Want To See Myself (Without You) (4:01)
If I Could Make You (Change Your Mind) (3:55)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Terry Callier's rediscovery in the early 90s was a turning point for Acid Jazz and few records symbolise that era quite like 'I Don't Want To See Myself (Without You)'. Originally released as a one-off on the indie label Erect, the track was Callier's final release before stepping away from music, leaving behind a career that had spanned Prestige, Cadet, and Elektra. By the time Acid Jazz reissued it in 1990, the original pressing had become a grail for collectors, with prices soaring. The song itself is a masterclass in understated soul, Callier's plaintive vocal weaving through rich instrumentation with the kind of deep emotional resonance that only he could deliver. Over the next decade, his legend grewihe returned to recording, toured the UK, and finally received the recognition he deserved. In 2006, Acid Jazz gave the record another limited pressing, featuring a fresh edit from Andy Lewis. Now, with the blessing of Callier's estate, the single is back once more, backed with 'If I Could Make You'. A vital piece of modern soul history, fully restored.
Review: This life-affirming new record from Down Under is a fine celebration of soul, broken beat, house and jazz that brims with rhythmic percussion, dynamic synths and syncopated basslines. Close Counters' effortless instrumentation shines throughout as paired with intricate production that maintains energy while allowing spaciousness with plenty of drum power. The album highlights the band's collaborative spirit with standout performances from Lyric Jones, Tiana Khasi, Allysha Joy, Jace XL, Shiv and others while the presence of Adam Halliwell of Mildlife on the opener further enriches what is a richly musical and adventurous album.
Review: Coolin' Out's back with a fourth volume of seductive edits for those more cultured dance floors. This one kicks off with 'Solstice' which is laidback and oozes cool. Gentle drums and mellifluous synths rise up from the deep cut and slow-motion groove with plenty of cosmic edge. The tight instrumentation creates a sublime atmosphere that is both full of relaxation and subtle euphoria. The flipside, an edit of Soul Vibrations,' flips the script with dusty drum breaks, a hint of Italian Library music instrumentation and some rousing melodies that get you on edge.
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