Review: Originally pressed (on a limited run) in 2013, LA Latin funk troupe Boogaloo Assassins have reissued these two spellbinding cover versions again due to public demand. Still on a highly limited run, both cuts need to be in your collection: Dawn Penn's "No No No" gets a strict samba switch with lavish percussion and consistent vocal harmonies throughout while Sonny Henry's "Evil Ways" (best known from its Santana cover) gets the dreamy instrumental treatment where the horns and glocks do the narrating over a tight bed of wood blocks, shakers and liquid Rhodes. Killer stuff and Juno is one of the few stores outside of USA which is carrying the 45. Don't Sleep !
Review: The music that makes up Harmony of Difference, Kamasi Washington's first EP of note since the release of acclaimed 2015 album The Epic, was premiered live as a "six-track movement" earlier this year. The "suite" - here stretched across both sides of an essential 12" - sees Washington continue to explore the idea of what it means to be black in America in the 21st century. Musically, the EP contains some of his smoothest and most laidback compositions yet, with all his musical collaborators being on fine form. The headline attraction is undoubtedly 14-minute flipside "The Truth", an almost operatic jazz epic full of swelling choral contributions, fizzing drum solos, rising horns and, of course, plenty of Washington's distinctive saxophone.
Review: Wow, classics don't come much more special than this. A like-for-like repress of the 1970 RCA release, both sides here are soaked in Scott Heron's raw troubled soul. The endlessly sampled, hugely powerful and perfectly funky "Revolution" remains almost as poignant and prophetic as it was the day it was penned. "Home Is Where The Hatred Is" is much more personal and reveals his talent as a singer as much as the lead track boasts his poetry and ability to deliver a strong message.
Review: A modern day Scott-Heron, without the myriad of demons on his back, Grammy-nominated jazz singer Porter has such a distinctive voice, charm and band command. He clearly lends himself well to edit culture (as proved by the huge success of the many "1960 What?" versions in recent years) and this 7" from Expansion is no exception. "On My Way To Harlem" is straight up narrative jazz with fantastic attention paid to the subtle samba and solemn horns. "1960 What?" speaks for itself; far more authentic to the original than the other versions that have popped up, if you've not already got a favourite edit - Jazz & Cole have the answer.
This Is What You Are (feat The High Five Quintet - radio edit) (4:21)
This Is What You Are (The Brazilian Rime) (4:53)
Review: "This Is What You Are" is undoubtedly Mario Biondi's most celebrated work. He first sung it for original composers Was A Bee in 2004, before re-recording it for his debut album (alongside the High Five Quintet) in 2006. Since then it has been reissued or remixed on numerous occasions. Here it gets reissued on a tidy 7" single, with a punchy radio edit - a swinging, Sunday afternoon style chunk of Latin soul-jazz rich in jaunty grooves, soaring orchestration and smooth vocals - being joined by the "Brazilian Rime" rework. This tasty re-recording re-casts the song as a breezy, samba-fired slab of early 1970s style Brazilian MPB. It's an inspired interpretation and could well become the definitive version of the track.
Review: Since launching last year, the Dynamite Cuts has delivered a string of killer seven-inch singles featuring sought-after cuts from fantastic old albums and this is another must-have along the same lines. It boasts two tracks from Clarence Wheeler and the Enforcers' 1970 debut album, "Doing What We Wanna Do", neither of which have appeared on a "45" before. You'll find a riotous Hammond funk explosion rich in energetic, break-driven drumming and wild trumpet and organ solos on the B-side, with the similarly sweaty title track nestling on the A. This insatiable number is altogether deeper and looser in feel, with tasty group vocals rising above bustling drums, warm Hammond lines and punchy sax solos.
Review: Tennessee's legendary jazz pianist, Harold Mabern, is surely one of the kings of the mighty Prestige label, and his material helped bridge the gap between jazz and funk back in the 1970s, alongside the likes of Idris Muhammad, The Jimmy Castor Bunch and all those geniuses. "I Want You Back" is a stone-cold classic and contains one of the most hummable trumpet lines ever, and if you hear closely it's been reworked and sampled by none other than the King of pop when he was only a little one. Funk Inc's sublime "Sister Janie" resides on the flip, a more lo-fi funk bullett for the diggers, and complete with a dusty organ!
Review: Two crucial moments from Gil Scott Heron's immense repertoire; "When You Are Who You Are" takes the lead. Taken from his 1971 album Pieces Of A Man, it's a straight up homage to clarity and honesty told in the context that only Gil knew best. Flip for a very special alternative take of "Free Will". The title track of his following album, released a year later in 1972, the variations of this take (which has never been released on vinyl before) are subtle but strong enough to justify it a place in your collection.
Review: With no less than nine releases on the label to their name already, Black Cash & Theo AKA Thelonious Beats are Galaxy Sound Co's most experienced editors. Here they deliver another fantastic "45" packed with righteous grooves and life-affirming jazz moves. It's the latter that comes to the fore on side A's "Flute Thing", a sweet and seductive drift through picturesque jazz territory with some additional loose-limbed drum solos edited in halfway through. "Do What You Gotta Do" on the other hand is a simmering, string-laden soul treat rich in killer instrumentation, sumptuous orchestration, chunky grooves and hazy vocals. It's a fine edit of a superb cut and easily the record's standout cut.
Review: Founded in 2017, Ronin Arkestra is a fusionist jazz/electronica collective from Tokyo founded by broken beat keys-man Mark de Clive-Lowe. Given that the band includes some of the finest players in Japan's contemporary jazz scene - most notably members of Kyoto Jazz Massive, WONK and Sleepwalker - you'd expect this first outing on Albert's Favourites to be rather good. It is, of course, with the band sashaying between dubbed-out soundscape jazz ("Stranger Searching"), sun-bright jazz-funk influenced positivity ("Redeye Reprisal"), loose-limbed, semi-improvised intensity ("The Silk Road Prelude") and, most notably, an awe-inspiring 21st century re-imagining of John Coltrane classic "A Love Supreme".
Review: Hot on the heels of "Mission" earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of "Rising" are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.
Review: 1974's Coming Right At You, the sole album from 100% Pure Poison, has long been a sought-after jazz-funk gem. Soul Brother has previously reissued the rare (and increasingly expensive) LP, though this double 7" marks the first time most of these tracks have been available on wax since 2001. Check first opener (and title track) "Windy C", a superb chunk of lolloping, laidback jazz-funk that sits somewhere between Bob James and Cymande, before turning your attention to the slow-burn soulful delights of string-laden torch song "Puppet On A Chain". Over on the second 7", "No More City, No More Country" is a more hard-spun Blaxploitation funk affair, while "Hole In My Shoe" is a horn-fired slab of J.B's style funk-soul fusion.
Review: Cuban bandleader, composer and rumba magician Ramon Santamaria had a huge influence throughout his 40 year career, notably writing Coltrane's famous "Afro Blue". Here are two of many stand-out cuts from his 1963 album Watermelon Man! While most the album's focus was on his Herbie Hancock cover, it's tracks like these that really gave the album its spirit and unique character; "Yeh Yeh!" is a samba shaking horn-led cut laced with crackling percussion and party cries while "Get The Money" leans back with rhythm and blues sass and a rhythm that's as powerful as Ramon's legacy. Moneymaker shaking guaranteed.
Review: Galaxy Sound give this 1997 hip hop classic a new twist with some slick jazz stylings. Lil Kim's "Crush On You", is known by all but here it becomes something completely different: a forgotten jazz funk gem, colourful trumpet leads awash with lush drums and timeless soul. The flipside houses a re-edit of Jeff Lorber's "Rain Dance", which is in fact the original source of the samples on Lil Kim's track, and one that has been used on more than 20 other big time tunes. Here it's subtly tweaked but still remains a classic bit of jazz-flecked hip hop with some proper rude vocals.
Review: Expansion's latest must-check seven-inch mines Roy Ayers' 1983 album "Lots Of Love", a sparkling post-disco set that combined the vibraphonist's usual jazz-funk flavours with colourful synthesizers and genuine boogie flavours. "Everybody" on the A-side is particularly potent; a lolloping synth-boogie head-nodder rich in life-affirming synthesizer squelches, rubbery jazz-funk bass, fluid Ayers vibraphone solos and background vocals that sneakily reference "Everybody Loves The Sunshine". Flipside "And Then We Were One" is if anything even more summery in feel, with mazy synth and vibraphone motifs dancing atop a killer jazz-funk groove. It's a little more up-tempo than the A-side, but arguably a little less addictive.
Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.
Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.
Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.
Accompanied by extensive interview-based liner notes and never-before-seen photos.
Review: Dynamite Cuts lives up to its name with this limited 7" from acclaimed Brazilian jazz singer Tania Maria. Two driving and dancey tracks pressed nice and loud for the first time on 45, "Fio Maravilha" is a busy arrangement made up of wild piano, big raw drums and Maria's impassioned, lung-emptying singing that whizzes along at pace. "Bedeu" has a little more Latin flavour, bossa nova swagger and space in the mix for the soul to shine through. Drop either one and take shelter, cause both of these cuts are bombs.
Review: Storied Latin-jazz artist, composer, producer, and DJ Nicola Conte lays down a marker for his upcoming fifth studio album Free Souls with this delightful 7" of the same name. Brandishing two gens from the album, Conte's channelling soul jazz at it's purest on the title track, with a rhythm and blues arrangement that provides the perfect backing for Bridgette Amofah's gliding vocal delivery. On the B Side, "Shades Of Joy" is equally as memorable with Marvin Parks' soft croon enveloped in the smooth double bass and horn section. On the basis of this, the forthcoming album should be one of Conte's finest yet!
Review: The first release from the Axis Audiophile Series. Jeff Mills has formed an electronic jazz fusion band and this 12? is a recording of their recent performance in Kobe during the TodaysArt.JP Festival. Mills manages the decks, drums and percussion and is joined Detroit legend and Underground Resistance stalwart Gerald Mitchell (Los Hermanos/Galaxy 2 Galaxy), keyboardist Yumiko Ohno and bassist Kenji Jino. "Eventide" has the same kind of urban, uplifting soul as anything Kaidi Thatham or Mark de Clive-Lowe have made and isn't bad at all! On the flip "Happy Gamma Ray" features uplifting keys and emotive chords backed by funk bass and one of Mills' unmistakeable 909 drum machine workouts. It really seems that there's no limit to this Motor City legend's creativity which has spanned nearly 30 years and we're excited about this new chapter in the Wizard's sonic universe.
Review: Manchester's Gondwana Records, run by Matthew Halsall, has been a constant source of good vibes and inspiration. Leaning on a jazz note, most of the material is centred away from the dance floor and yet there is always plenty of movement and joyous rhythm, particularly from Halsall's appearances. Here, we have a reissue of 2015's "Journey In Satchidananda", a majestic wave of jazz flutes, seductive piano keys, in what is an altogether dreamy sort of setting, which is further evolved on the supremely euphoric waves of the unbeatable "Blue Nile". At last, some contemporary jazz on 12" that has left us blown away..!
Review: Nicola Conte and Gianluca Petrella follow up last year's beautiful "African Spirits / New World Shuffle" with two more lavish instrumentals. "Sun Song" lives up to its name with wave after wave of heated musicianship from the belting harmonies to the light-touch keys. "Nigeria" taps deep into the source too as it drives us through the heart of Lagos with full horns and sweeping keys. Spiritual, sun-splashed and vital.
Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible. Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with "Colors" and "The Creator Has A Master Plan" both capable of making the toughest of audiences feel utterly uplifted. On the flip, "Love Is Everywhere" shines bright amid a flurry of flutes and intricate drum percussions, while "You've Got To Have Freedom" rides off a much smoother, deeper sort of vibe that's got a little funk at its core. Wicked.
Review: Moochin' About's Record Store Day 2017 offering is something of a treat for jazz fans: a tasty 10" featuring an unreleased Alice Coltrane improvisation, recorded in Poland in 1987, on one side, and a delightful etching of a lotus flower on the other. Musically, the A-side sees Coltrane in harpist mode, delivering a spontaneous workout the rapidly jumps between strummed chords, plucked notes and frequent bursts of twinkling melody. At some points, it's blissful and becalmed, at others fizzes with the same kind of excitement you'd expect from freestyle jazz. At nearly 12 minutes in length it's something of an epic, but will hold your attention throughout.
Review: The debut release from the freshly-minted Discodelic label offers up two exceedingly rare - and rather fine - "funky Latin" cover versions from the glory years of hallucinatory funk and soul. Side A sports Via Libre's flash-fried samba-funk cover of Marcos Valle's "Chi Chi Mentira", a heady re-imagination rich in Hammond organ stabs, undulating Latin percussion, groovy bass and a percussive middle section just tailor-made for DJs who like doubling up breaks. Over on the fiip you'll find something even heavier: Grupo Amigos' celebratory, organ-heavy funk-rock take on Trio Ternura's "La Gir Del Diablo", a song that was later famously turned into an international hit by Astrud Gilberto as "Black Magic (A Gira)".
Review: ** REPRESS ALERT ** 2019 marks 50 years since this timeless classic's original release. The Peddlers' "On A Clear Day You Can See Forever' is a sumptuous smooth jazz journey full of organ solos and deep vocal tones. The British soul/jazz trio is known for creating a unique melange of beat, jazz, cabaret, rock and soul that must be heard to be believed. Flip side "Comin' Home Baby" is like passing through a cloud composed of equal parts Tom Jones, Jimmy Smith, Georgie Fame, Mel Torme, Alan Hawkshaw and dozens of lesser jazz/lounge vibe-creators. Get this copy for a spine-tingling rush of harmony from the late sixties.
Review: Following their surprise reunion and Strut-release album We Be All Africans last year, Idris and The Pyramids return... This time on Max Weissenfeldt's Philophon imprint. Laying down a spiritual arrangement so frenetic and full of its own life it takes up two parts, Idris's sax plays duet with Philophon's own vocalist Guy One. Gutsy, raw and full of surprises, it's another out-of-body experience from the longstanding jazz troupe.
Review: Legendary bandleader Eddie Palmieri took a rare groove excursion from his Latin legacy in the early 70s for two albums as Harlem River Drive. Criminally overlooked, Soul Brother have dusted off two of the many highlights from his self-titled debut; "Idle Hands" is a sleazy, Gaye-style message with an almost spoken word quality to the vocals and a smoky wooziness to the horns while "Seeds Of Life" is a real end-of-set belter that rises and rises with tight orchestration between the guitar, horns and drums. Incredible... This can't be slept on this time round.
Review: It seems so obvious you wonder why it doesn't happen more often: Stefano Torossi's "Feelings" album from 2000 was made up of track titles that convey certain situations and emotions that he masterfully reflects in the music. This new double 7" includes the highlights, such as the racing jazz and trumpet stabs of "Running Fast," the sustained and uneasy chords of "Fearing Much" and "Feeling Tense," which is actually a pretty lush bit of smooth jazz. "Walking In The Dark" rounds off the double pack with playful guitars and luxuriant synths that are pure soundtrack goodness. Ace.
Review: Brit-funk combo 52nd Street are undeniably best-known for their 1983 single on Factory Records, "Look Into My Eyes", which came accompanied by some killer remixes from John "Jellybean" Benitez and sailed closed to the NYC electro sound. The Manchester outfit's roots were in jazz-funk though, as this essential reissue of their 1982 debut single proves. "Look Into My Eyes" is simply superb: a warm, woozy and gently groovy affair full of attractive lead vocals, elastic slap bass, colourful synthesizer lines and dreamy chords. If you're after some more up-tempo dancefloor pressure, check out flipside "Express" - a riotous affair rich in hammered-out Clavinet lines, jaunty lead lines and energetic percussion.