Back catalogue: Jazz

Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.

Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.

Review: The University Of California Santa Cruz Chamber Singers is a group from the 70s headed up by Bob Masters that released two cult albums A Birthday Celebration and Voices. Their lush, lavish, soul-enriching sound is a harmonious balm that here on the newly reissued 'Children Of Bahia' gets paired with some Latin-tinged jazz sounds, shuffling samba rhythms, busy Rhodes keys work and plenty of organic percussive layers thanks to Randy Masters and Solar Plexus. 'Torremolinos (Windmills)' is an equally spiritual sound with more prominent flutes and dancing piano chords all energising every fibre of your being.

Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.

Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.

Review: The indestructible Ray Barretto demonstrated superb skills on this record back in 1973. His band were at the forefront of the new Afro-Cuban musical movement that was emerging and became known as salsa. His composer skills were well known after he wrote 'Cocinando' and his band were also much loved in the live area though Johnny Rodriguez on bongo and cencerro, bassist Dave Perez, pianist Louis Cruz, along with trumpeter Rene Lopez and vocalist Adalberto Santiago all left him soon after. HIs Indestructible album is his most remarkable, with a constant sense of flow to the rhythms from front to back.

Review: Joe Bataan's 1968 sophomore album Riot! is considered a cornerstone of Latin soul and the record that truly cemented his reputation as the genre's king. Backed by the dynamic Latin Swingers band, Bataan masterfully blends Afro-Cuban rhythms, soul and funk with his signature streetwise flair. Tracks like 'It's a Good Feeling' and the title song capture the energy and emotion of late-1960s urban life while reflecting both personal and societal struggles. Its infectious grooves, raw vocal delivery and tight instrumentation mean that this one remains a timeless classic that continues to resonate across the generations.

Review: The Paralytics have a timeless sound that is laid bare on this new, heavily limited 7" featuring 'Ghetto Funk.' The original on the a-side is a lo-fi sound with dusty drum breaks and prickly guitar riffs all overlaid with his idiosyncratic vocal mutterings and murmurings. It's expressive and emotive and hugely effective despite being low-key. The flip side instrumental strips back those vocalisations to allow the funky drum breaks extra room to do their thing. A fine pick up for those who like it raw and paired back.

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: For the second instalment in their Cuban Classics series, Mr Bongo present this sought-after slice of sublime Afro-Cuban jazz from 1976. It comes courtesy of one of Cuba's most influential acts, Grupo Irakere. Founded in 1973 by Chucho Valdes (son of the Cuban pianist and bandleader Bebo Valdes) the group was home to many of Cuba's finest musicians over the years. With an electrifying style and sound, they mixed traditional Cuban music with jazz, funk, and rock. This self-titled album includes the much-loved, dancefloor heavy-hitter 'Chequere-Son', a Latin-jazz funk masterpiece with Cubanized bebop-flavoured horn lines, lush keys, and 70s hip swagger. Though 'Chequere-Son' is the keystone of the record, the album is laced with brilliance at every turn, from the Carlos Santana-esque channelling 'Iya' with its percussive Latin power, to the sultry, slick and passionate '38 1/2'.

Review: Heavenly Sweetness has always dealt in music for the soul that is drawn from the worlds of funk, soul and jazz. This new collection of such tunes is another testament to that with a heavily international and world bent. Oodles of Latin, hip hop and Afro vibes pervade the tunes by Guts aka Fabrice Franck Henri alongside a whole host of collaborators. He's a super prolific talent who has put out some ten albums in just over a decade and Estrellas is one of his best. It comes on six sides of delicious wax and takes you on a trip to sunny climates from Cuba to Brazil.

Review: This second instalment of Jazz Room's Pure Latin re-releases comes in the form of Orquesta Mayombe's masterpiece, Con Ritmo Del Tambo. First emerging in 1980 and now considered to be a classic example of Nu Yorican El Barrio sound, this is an essential record for fans of Tata Vasquez. Featuring Afro-Cubano jazz heavyweights including Chocolate Armenteros, Jose Mangual, Mauricio Smith, and Orestes Vilato, as well as an astounding seven-person percussion section, it's safe to say this release packs a punch. Travelling through ten dazzling, floor-filling cuts of Afro-Cuban via New York Jazz age tracks, this is a must-have for fans of Latin jazz.

Review: Given that Gilles Peterson and Stuart Baker's Cuba: Music and Revolution - Culture Clash in Havana is one of the standout compilations of 2021, hopes are naturally sky-high for this speedy sequel. Like its predecessor, volume 2 focuses on music and made and released on the Caribbean island between 1975 and '85, this time round largely focusing on rare fusions of salsa, Latin jazz, disco, soul and funk, mostly licensed from records that have never been available outside Cuba. It's another stunning selection all told, with highlights including the heady Cuban disco/salsa fusion of Orquesta Los Van Van, the fiery disco-funk of FA 5, the heavily percussive hedonism of Luis Carobonell and the fuzzy psychedelic rock of Grupo De Experimentacion Sonora Del ICAIC. In a word: essential.

Review: Jonathan Powell's Mambo Jazz Party is an electrifying blend of Latin and modern electric jazz that draws from his 20 years of experience playing with legends like Eddie Palmieri and Tito Puente Jr.. It finds Powell assembling an 18-piece ensemble to bring the infectious rhythms of mambo to life and mix traditional Latin jazz with influences from electric pioneers like Chick Corea and Weather Report. He adds in layers of tabla textures and crossover jazz harmonies across a series of both original compositions and reimagined classics. Mambo Jazz Party captures the essence of joyous, groove-driven music and creates an irresistible party atmosphere throughout.

Review: Coming just after this seminal recording celebrated its 50th anniversary, Craft Recordings presents a carefully handled reissue of Tito Puente's Para Los Rumberos. Puente remains one of the all time greats of Afro-Cuban percussion, and he recorded this definitive set in New York in 1972, whipping through mambo, guaracha and cha-cha-cha with his trademark explosive drumming front and centre and backed up by some sharp-shooting players. Cut all-analogue from the original tapes and pressed in audiophile quality, this is a much-deserved revisit to one of the most iconic recordings in Puente's accomplished career.

Review: The Original Jazz Classics series makes a triumphant return with the reissue of Cal Tjader's influential 1956 album, Latin Kick. Renowned for blending Afro-Cuban rhythms with mainstream jazz elements, this album highlights Tjader's talented abilities on the vibraphone. The ensemble features brilliant performances from Brew Moore on saxophone, Luis Miranda on congas, Bayardo Velarde on timbales, Manuel Duran on piano and Carlos Duran on bass. Though the album title suggests a Latin focus, the tracks venture beyond traditional Latin music, incorporating elements of the emerging exotica genre. Latin Kick offers a global musical journey, including songs about Paris and Vermont. Despite the absence of traditional Latin brass and fervent rhythms, the album captivates with its downtempo ambiance, dreamy landscapes, and smooth tenor sax infusions. Tjader's signature vibraphone often takes a backseat, allowing the ensemble to create a cohesive, melodious, and enchanting atmosphere. The reissue of Latin Kick reaffirms the series' commitment to preserving jazz history, offering a pristine listening experience that celebrates the timeless artistry of Cal Tjader and his exceptional band.

Review: Jazzman recently served up a big and freaky old collection of Halloween themed jazz sounds from Greasy Mike. Now the venerated digger and collector opens up his archives once more for another deep dive, this time under the heading of 'Shipwrecked On A Tropical Island.' As such these are Afro-tinged jazz sounds with shimmering steel drums and gently breaking waves. There are Afro-Cuban spinners like Phyllis Branch's 'Babalu' and samba shufflers full of soul. An epic and escapist collection that takes you to another world.