(Soul) Rebel 23 (Reginald Omas Mamode IV remix) (3:30)
Snake Eyes (Ishmael Ensemble remix) (8:11)
Review: If you've not yet got your ears around Roger 'Chip' Wickham's sensationally sunny, jazz-fired "Shamal Wind" mini-album, we suggest you check it out post-haste. In the meantime, Lovemonk has reminded us of its magnificence via a new set of reworks from some seriously hot producers. Max Graef handles side A, first serving up a chugging, mind altering and heavily percussive "Bongo Mix" of "Soho Strut", before reaching for the sub-bass and fizzing, juke-tempo jazz rhythms on the bonkers but brilliant "Bass Mix" of the very same song. Over on the flipside, Peckham beat-maker Reginald Omas Mamode IV serves up a dusty, Rhodes-laden take on "(Soul) Rebel 23" featuring his own soulful vocals, before Gilles Peterson favourites Ishmael Ensemble mix live jazz instrumentation with rolling house beats on a sublime revision of "Snake Eyes".
Review: 2015 is fast turning into Henry Wu's year. Having already delivered killer 12s of baked deep house/instrumental hip-hop fusion for Ho-Tep and Odd Socks, he now pops up on Rhythm Section International with another brilliant EP. While as deep and blazed as previous excursions, there's a sun-bright freshness to the pleasingly varied selections on offer. Contrast, for example, the deep space, boogie-house slickness of "Yellow Brick", the bruk revivalism of "Neezy (Wok)" - think I.G Culture after a few too many bongs) - and the brilliant deep house/jazz-funk fusion of "Dubplate Special". Arguably best of all, though, is the Latin jazz-goes-deep house warmth of "Croydon Depot". Everyone will have a different personal favourite, though; it's that kind of EP.
Review: It was only a matter of time before Henry Wu and K15 would link up with London's Eglo, and their respective prior releases for the likes of Wild Oats, Rhythm Section and 22a have earned them a spot in one of the finest house and broken beat labels around. "Love's Gambit" is a perfect example of the latter genre, a sublime blend of jazzy percussion swings and smooth melodic drifts, followed by the even more soulful bounces of the gentle "Space & Time" - one for the jazz fusion heads! "The Anthem" heads towards more housey spheres thanks to its stable beat pattern - it-s an absolute peach of a tune, by the way - but it's "Shahada" that governs the dancefloor with its rough MPC drum programming and finger-licking synth rotations. A beautiful and fitting addition to the catalogue.
Review: Kamaal Williams has described The Return, his now reissued debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.