Review: Classic psychedelic rock singer Han Young-ae was a big deal back in the 80s and 90s, then disappeared before returning with a new album in 2014. This album, Vol 2, on C Sharp comes on limited transparent yellow wax with an insert and nine tracks that fuse her theatrical rock singing style with old school 90s rock licks and cold electronic drums on the opener then switch it up entirely for the sentiment soul ballad on track two. There are more soft rock pieces, 80s disco tinged rock, and many other weird and wonderful in between sounds from this cult artist. It shows she has come a long way since starting out with a folk band in the 70s.
Review: After forming from the ashes of a lauded jazz group in 1972, Sierra Leone's Afro National went on to release countless killer singles and albums that effortlessly joined the dots between jazz, highlife, funk and more traditional West African sounds. Here, the laudable Africa Seven label celebrates the band's legacy not by gathering together their most famous tracks, but rather cuts with the most insatiable dancefloor chops. The hits come thick and fast, from the punchy Afrobeat/highlife fusion of opener "Jokenge" and the rolling, low-slung goodness of "Mr Who You Be", to the jaunty, celebratory brilliance of the Juju-influenced "Sonjo" and fuzzy sweetness of the compilation's closing track, "Mother In Law" (which, incidentally, is far more enjoyable than any weekend visit from the in-laws).
Elvira Voca - "Drugo Vrijeme (The Second Time)" (3:46)
Opatijski Suveniri - "Vamos A La Playa" (3:28)
Roman Butina - "I'm Gonna Get Your Love" (3:52)
Review: This limited gatefold edition compilation, curated by Leri Ahel & Zeljko Luketic, brings together 18 rare disco tracks from Yugoslavian artists, pressed on 2 x vinyl. Featuring the likes of KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, and more, the collection is sourced from original master tapes, ensuring pristine audio quality. Disco, a Trojan horse in Yugoslavia's pop music scene, thrived for an unexpectedly long time. Influenced by American and European disco acts like Boney M and Amanda Lear, Yugoslav producers and record companies like Jugoton and PGP RTB embraced the genre's vibrant energy. The scene fostered a unique blend of genre hybrids, electronic experimentation, and bold themes, with artists creating memorable and innovative disco music. This compilation captures the spirit of that era, shows both chart-toppers like Zdravko Colic and experimental gems. It highlights the creativity and freedom that disco provided, allowing musicians to push boundaries and deliver unforgettable tunes.
Review: Given that Olli Avhenlahti released his debut album way back in 1975, you'd forgive the Finnish pianist-composer slowing down a little in his old age. Mirror Mirror, his latest gorgeous and thoroughly entertaining full-length excursion, arrives some seven years after its' predecessor, Gilles Peterson favourite Thinking, Whistling. Beginning with the gorgeously warm and sun-kissed title track, Avhenlahti and his trusted band of players lay down a series of killer cuts that invariably join the dots between contemporary jazz, jazz-dance and jazz-funk. It's a format that offers the perfect platform for Avhenlahti to show his skills on Rhodes electric piano and his trusty Oberheim synthesiser. Naturally he does that, sparring with sax and trumpet soloists over some seriously sumptuous grooves.
Review: Cyrille Aimee has forged a formidable reputation as a jazz singer across the world, developing a tone which draws on her Dominican heritage as well as her guidance from the gypsy tradition in France where she grew up. While she's normally know for her arresting interpretations of standards and traditional classics, on A Fleur De Peau she's developed an album of her own material alongside NYC multi-instrumentalist Jake Sherman. Written in large part in the jungle in Costa Rica where she built her own home, Aimee developed her songs with Sherman's instrumental input resulting in a brilliantly varied and unflinchingly honest, open-hearted album which will make you re-evaluate everything you thought you knew about the finest of contemporary jazz singers.
Review: Ajate's third album, Dala Toni, is a vibrant fusion of Afro groove and Japanese traditional Ohayashi music, showcasing the band's innovative approach to blending diverse musical traditions. Founded by Japanese musician Junichiro "John" Imaeda after a revelatory experience in West Africa, Ajate brings together ten passionate musicians to create music that transcends cultural boundaries. Utilizing a mix of traditional instruments like drums, flutes, and bells, as well as handmade bamboo instruments crafted by Imaeda himself, such as the unique 'Jaate' and 'Piechiku,' Ajate's sound is both powerful and distinctive. Their incorporation of Afrobeat rhythms and Japanese vocals adds further depth and richness to their music, reflecting themes of human connection, unity, and the joy of life.Having gained acclaim for their explosive live performances in Japan and beyond, including appearances at prestigious festivals like Sukiyaki Meets The World and WOMAD UK, Ajate's music resonates with audiences worldwide. With Dala Toni, they continue to push the boundaries of global music, solidifying their position as pioneers of the genre "made in Japan."
Review: Akira Ishikawa's first band was Count Buffaloes, a collective who emboldened his jazz fusion explorations and yielded countless albums of psych-charged, groove-oriented magic. Now Cinedelic are turning their attention to the 1970 album Bakishinba: Memories Of Africa and offering new listeners a chance to savour its sweet and rare delights. If you dig the way the likes of Santana brought Latin, jazz and rock flavours together in pursuit of good-time, enlightening musical expression, you're going to love the sound on this record. It's a gem of Japanese jazz fusion which no discerning digger should be without.
Don't Wanna Fight (live From Capitol Studio A) (3:54)
Future People (live From Capitol Studio A) (3:25)
Dunes (live From Capitol Studio A) (3:27)
Over My Head (live From Capitol Studio A) (4:00)
Review: RECOMMENDED
It was two in two for Alabama Shakes when they first unveiled this bonafide swamp rock masterpiece. Released in 2015, Sound & Color took the blueprint laid out with Boys & Girls and then kicked up into fifth gear. It's soul. It's blues. It's sweat-soaked funk. Most importantly, though, it's the kind of record that keeps giving the more you listen, sounding equally at home in the 1950s as it does the 2010s.
It's hard to really put into words the level of husky, pained, heart-on-sleeve musicality at the core of this record. Brittany Howard's voice might never again sound as utterly distraught and reflective, pained and somehow filled with hope for a brighter day. Individual readings aside, this is among the finest blues records to land this century, and ranks up there with some of the greats of the 20th, so don't sleep on this edition complete with closing tracks recorded live at the legendary Capitol Studios.
Don't Burn Down The Bridge ('Cause You Might Wanna Come Back)
Angel Of Mercy
Review: With the Bar-Kays and Isaac Hayes's Movement alternately supplying the funky rhythms and the Memphis Horns contributing the riveting riffs, I'll Play the Blues for You stands out as the definitive Albert King soul-blues fusion album of the Seventies. King, in the words of the late Michael Bloomfield, ''was the only [blues] singer who had clever, modern arrangements that would fit in with the black radio market and with the white market and in no way compromised his style.'' Besides the hit title track, the disc includes the hit ''Breaking Up Somebody's Home
Review: Fusion five-piece Aldorande are no fustians when it comes to full-length LPs. These self-styled groove adventurers remain radically open to the sound, thanks to their stylistic touchstone, 70s funk, and its diachronic conduction of future styles. Recorded on tape in a top Parisian studio, their third record Trois brims with trifect textures, bold phrasing, and soaring choral waves. Mathieu Edouard's precise drumming is glued to the spot by Erwan Loeffel's plaited percussion, all the while Laurent Guillet's fingertips and Florian Pellissier's splayed hands make the best uses of Fender Rhodes, axe and Minimoog.
Review: The magnificent Luaka Bop label has been showcasing the work of Alhaji Waziri Oshomah - a master of Afro sounds and rhythms that cut deep - for a while now across several albums and compilations. He hails from Edo State in southern Nigeria and is known for holding sermons of the religious as well as musical sort. After various volumes of work and the superb World Spirituality Classics 3: The Muslim Highlife Of Alhaji Waziri Oshomah record comes this new series of gems that show off his unique take on international rhythms across four long, ever evolving and always engaging grooves.
Review: This is a posthumous tribute album to the late Nigerian drummer Tony Allen, who was one of the pioneers of Afrobeat music and a longtime collaborator of Fela Kuti. The album features Allen's drumming mixed with new compositions by the American producer Adrian Younge, who is known for his work with artists like Ghostface Killah, Kendrick Lamar and Ali Shaheed Muhammad. The pronouncement that "jazz is dead" is certainly a controversial one, but Younge's aim there is to equate Allen with the spirit of jazz as a whole. The jubilant warpery and tremolo-ing flutes of lead tracks like 'Ebun' should be enough to know: like the impenetrable durability of jazz, Allen will live on through his work.
Review: Two titans of African music come together for a collaboration that will sadly never be repeated after the passing of the late Hugh Masekela. Allen's instantly recognisable drumming and Masekela's iconic trumpet are a match made in heaven - after all their paths first crossed back in the 70s thanks to Fela Kuti's galvanizing energy. Forget the throwback stuff trying to capture the spirit of the originators, this IS the originators sounding cool and deadly in every way. Funk lovers, Afrobeat heads, curious ears and dancing souls take heed - this right here is an unmissable transmission from two grandmasters in their field.
Somewhere To Be (feat Andy Cooper & Marietta Smith) (3:22)
Ever Been (3:36)
Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.
Vamonos (feat Andy Cooper & Marietta Smith) (3:12)
Sometimes I Wonder (3:25)
Push Right Through (feat Andy Cooper & Marietta Smith) (3:26)
Treat You Right (3:22)
Take Another Look At It (feat Marietta Smith) (4:32)
Review: This is the sixth album by the Bristolian production duo The Allergies (DJ Moneyshot and Rackabeat), widely known for their funky, hard-hitting hip-hop originals. With cameos from the likes of Bootie Brown, Andy Cooper, and Dele Sosimi, their latest album 'Tear The Place Up' is a rollicking whirl, and has rightfully been touted as "hip-hop meets Tarantino", with many a cheesy thriller film reference and floor-shaking beat in tow.
Are We There Yet (feat West Felton , Howard Wazeerud-Din II, Malik Alston) (5:31)
Boom Bap Jazz 7 (feat Dave MCmurry, Takashi Iio, Malik Alston) (2:55)
We Have Been Assimilated (feat Malik Alston, Dave Mcmurry & The Black Light Collective - Malik Linwood mix) (3:58)
Vampires (feat Elmus, Allan Barnes, Cen Dervin, Craig Huckaby - Malik Afro remix) (7:58)
Shine (instrumental) (5:59)
The Doctor (feat Zacland) (7:06)
Soul Guitar Love (feat Gabe Gonzalez & Bubz Fiddler & Malik Alston) (4:16)
We Can Make It Through (feat Doc Link, LaRonn Dolley, Malik Alston) (3:05)
Review: Truth Manifest Records proudly presents Beyond Jazz Volume 2, the next instalment in this futuristic four-part series. Produced by Malik Alston and distributed by Mother Tongue, this vinyl release takes listeners on a journey to the edge of their senses. With its blend of live instrumentation and a hip-hop foundation, the album morphs into an Afro-Cuban, up-tempo dance jazz banger. Poetry interweaves throughout, reflecting urban realities while reminding us that through struggle comes victory. This record captures the essence of boom bap jazz, offering a funky jazz groove that lets your spirit shine. A must-have for any jazz lover.
Review: Heartache In Room 14 marks The Altons' highly anticipated full-length debut on Daptone, promising a soulful, cinematic journey. Adriana Flores and Brian Ponce share lead vocals, creating a rich, emotive interplay that's hard to come by in modern soul. With tracks like 'Waiting' and 'Perdoname', the album weaves through melancholic ballads, tejano influences, and a touch of Bond-style psychedelia, making it clear why they're a standout act. Already primed to be a must-have of 2025, Heartache In Room 14 blends classic warmth with undeniable chemistry.
Review: After a run of hit singles on Penrose Records, The Altons are primed to release their debut album, Heartache in Room 14, on Daptone. Adriana Flores and Brian Ponce share lead vocals, creating a romantic depth often missing in today's soul. The album dives into moody ballads and tejano-flavoured duets, with hints of Bond theme psychedelia that give it a cinematic edge. Heartache in Room 14 promises to be more than just another soul record and is rather is a must-have for 2025.
Review: The Altons make their Daptone debut with Heartache in Room 14, pressed here as a limited sky-blue vinyl LP with an MP3 download code. Known for their streak of standout singles on Penrose Records, this release sees Adriana Flores and Brian Ponce sharing lead vocals, adding a heartfelt, almost cinematic quality that cuts through today's soul. Expect moody ballads, tejano-inspired duets and splashes of Bond-esque psychedelia. Heartache in Room 14 isn't just another soul album - it's primed to be 2025's must-have in this exclusive sky-blue pressing.
Review: Nestor Alvarez, known for his vibrant fusion of sounds, brings forth Melting Pot - an album embodying his diverse musical influences on the always good value Original Gravity label. It finds Alvarez delve into the core essence of his music, capturing the raw energy and authenticity that define his sound across eight party ready cuts. From Latin rhythms to electronic beats, Alvarez seamlessly blends several genres, creating a trip that transcends boundaries and eras. Some are fiery and upbeat, others are more slow burning funk but all of them are testament to Alvarez's innovative approach to music production and showcase his ability to craft dynamic compositions that resonate with audiences worldwide.
Review: 1975's "Simigwa" album not only launched the career of Afro-funk fusionist and eventual Highlife great Gyedu Blay Ambolley, but also inspired a Ghanaian dance craze. The album was co-produced by another Highlife great, Ebo Taylor, and has long been exceptionally hard to find on vinyl. For this official vinyl reissue on Mr Bongo, Ambolley's landmark set has been fully re-mastered for the very first time. It sounds spectacular, with great clarity on the ear-catching brass solos, serious weight to the bass and superb stereo separation. Highlights include - but certainly aren't limited to - the Afro-blues brilliance of "Toffie", the jaunty dancefloor fuzziness of "This Hustling World" and the heavyweight swing of ear-catching opener "Kwaakwaa".
Review: Initially released in South Africa in 1982, Gyedu-Blay Ambolley's sophomore set is now regarded as a boogie-era Highlife classic. Here issued on CD for the very first time via Mr Bongo, the album features the Ghanaian star brilliantly joining the dots between driving disco-funk, jazz-funk, intoxicating slow jams, calypso, dub reggae and his beloved highlife. Highlights come thick and fast throughout, with standouts including heavy percussion jam "Simigwa", the boogie-dub skank of "Adwoa", the down-low grooves of "Walking Down The Street" and the killer disco highlife anthem "It's High Life". Simply essential.
Review: The forthcoming collaboration between anaiis and Grupo Cosmo presents a captivating fusion of contemporary soul and Brazilian musical traditions. The album features tracks like 'Toda Cor' and 'Voyage,' which blend anaiis's soulful vocals with Grupo Cosmo's rich instrumentation, creating a sound that is both innovative and deeply rooted in cultural heritage. This milky vinyl LP offers listeners a unique auditory experience, highlighting the seamless integration of diverse musical styles.
Review: You have a genuine piece of musical history here. The Anchors may not be remembered by many, but made a significant impact on everyone who does. Black Soul is the third and - to all musicologist knowledge - last record put out by this pioneering South African funk-soul outfit. Straight out of the Johannesburg township of Alexandria at the height of Apartheid, they became known for exceptional musicianship and reinterpreting the classic Memphis, USA sound for their own oppressed community. Part three of that legacy takes things much, much further, though. So, we can definitely still hear those Mid South sounds that represent the very essence of soul, but here the aesthetic becomes something altogether different, Afro and specific to time and place. Homage paid to the genre founders, but drawing on personal circumstances to own things for themselves.
Review: And Is Phi (Andrea Isabelle Phillips) is a multi-disciplinary artist from Norway and the Philippines now based in South East London. Double Pink is a debut album of great quality that draws on a wide sphere of influence, from Joni Mitchell's tender vocals to Frank Zappa's weirdness via 90s r&b and the jazz tinged beatmaking of Madlib's seminal album for Blue Note. it is both late night and languid but immediate and emotive, with a world of colour and texture that is all blurred, smoothed off, packed with emotion and smart riffs, melodies and hooks.
(I Want To Be) Whatever It Takes To Please You (5:52)
Overdose Of Love (2:26)
The Love I Need (2:38)
Didn't I Fool You? (2:49)
You Made A Believer Out Of Me (2:39)
Good 'N Plenty (2:55)
You Ole Boo Boo You (2:54)
Just Lovin' You (2:50)
My Love Is Comin' Down (2:35)
Hound Dog (3:26)
Review: Black Ruby was the superb sophomore long player from the wondrous soul singer Ruby Andrews. It first appeared on the Zodiac label in 1972 and didn't give rise to any big hits but that didn't stop it from becoming a favourite with those who know. This reissue saves you the financial damage of copping an original and sounds superb from the opening lushness of '(I Want To Be) Whatever It Takes To Please You' to the lung-busting vocal expression of 'You Made A Believer Out Of Me' via heart aching blue-eyed sounds of 'My Love Is Comin' Down'.
Review: The UK's Robin Lee is one of the members of much-loved disco gang Faze Action but also he's behind Andromeda Orchestra who return here with an album that offers a cosmic fusion of jazz-funk and disco. It's been put together with Moogs, clarinets, Rhodes and rich analogue textures that make for a mix of nostalgia and sonic richness that sinks you in deep. Blending nostalgia with innovation, Lee creates deep, immersive soundscapes. There are widescreen odysseys like 'Mythical', loved-up bunkers such as 'Thinking About Your Love' and a rare Nick The Record remix of 'Get Up & Dance' that overflows with cosmic melodies and lush, life-affirming strings.
Review: Eraserhood Sound present the debut album from Angelo Outlaw, a Philadelphia-based mallet percussionist and poet with serious chops in the sweet spot where spiritual jazz and heavy funk collide. Axis Of Time has been crafted as a vehicle for escapism, propelled by transcendent instrumentation to reach celestial heights across 11 exquisitely rendered compositions. The sparkling vibraphone rubs up against fuzzed-up guitar lines, underpinned by the infectious groove of the rhythm section for a standout excursion from a vital new talent in the field of life-affirming jazz funk. Just take the dizzying highs of lead single 'Free My Mind' as an instructive route into this exploratory, deeply-rooted record.
Review: Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, the LP is a dazzling blend of jazz, rare groove, funk, soul and r&b. Outlaw's statement of intent is to transport the listener to a dissociated, dream-like state; a retreat into a fantasy from which one may not wish to return. That of a sonic holiday is indeed the vibe of this vibraphonic virtuosum, with landscapes of flute, wah-pedalled guitars and, of course, bell-like harmonies played by Outlaw himself, all evoke the sense of riding on the back of a paradisiacal bird, and into the anaesthetic distance.
Review: As it is often best done in soul, contemporary band Annie & The Caldwells are a family affair, channelling the depths of heartache and euphoria through danceable Mississippi-born bombasts. Lead vocalist Annie Caldwell leads the band alongside her husband of 50 years Willie Joe Caldwell, and is backed by children Deborah, Anjessica, Toni, Willie Jr. and Abel. Juggling hard work with harder musical playing, Can't Lose My Soul takes aim at modern day soul greatness, documenting quotidian struggles and everyday joys in song, and centring their concept on their locality of Main Street, West Point, Mississippi, where the family have run various businesses for decades. With a record this rooted in community, who better to rep the Southern soul set than the Caldwells?
Review: In around 2013, artists like Yung Bae pioneered the genre of future funk, which took elements from early Japanese city pop and funk from the 1980s, and turned it into hyper-compressed, dull and nostalgic explosions of sampledelic sound. But in turn, it reinvigorated interest in the particular brand of city pop that had been sampled - and those already in the know about it will know it was already danceable and driving enough. ANRI, the singer hailing from Kanagawa, was a central artist in this early J-pop sound, and unwittingly paved the way for this decades-to-come cultural routing. Funky live horns, dynamic vocal jumps and an optimistic feel cut across her 1982 opus Heaven Beach - a more laid-back and relaxed album compared to her other projects, and only her fourth. Emblematic of the Sino-nostalgia that has taken the vaporwave and future funk community by storm, it was one of her four earliest albums to be released with the timeless Japanese music trademark - the obi-strip.
Review: Japanese popstar Anri continues to hear her entire back catalogue reissued - this time we home back in on Bi Ki Ni, her mid-career (1983) city pop opus, which laser-focuses on the romantic tropes of sunsets, beachside flings, and heartfelt goodbyes over cocktails in flight lounges. The coalescing of jazz, funk and disco meshes neatly as Anri glides tightly over each ultra-slick instrumental, with the aptly named 'Good Bye Boogie Dance' being a particularly neat highlight.
Review: Japanese city-pop starlet Anri was a fixture of the late 1970s to early 80s, and renewed interest in her work has sparked something of a reissues incentive. Now her 1984, early-to-mid career album Coool sees a reissue via For Life alongside Bi Ki Ni, and further hammers home her romantic vision in disco. Unlike the aforementioned album, Coool is slightly more electronic and dancey, and meditates more on appreciating nature than romance, with standout track 'Gone With The Sadness' reflecting Anri's experience of getting away from the city and leaving the sadness that comes with urbanity by the door.
Review: Mikahl Anthony's debut full-length, Muse, offers a profound auditory journey reflecting his expansive influence across the alt-soul and hip-hop realms. Renowned for collaborations with Mick Jenkins, Chance The Rapper, and others, and as a core member of THEMpeople, Anthony presents a richly layered narrative through this album. Muse integrates self-directed visuals with its deeply personal and introspective content. The project explores themes of self-growth and reflection, blending various voices and experiences with Anthony's own lyrical depth. The title, representing 'Ms. Using Sensual Energy' and 'Making Use of Seclusion Every Day', hints at the album's dual focus on intimate self-discovery and isolation as a creative force. Tracks like 'La Flare' and 'MollyAmory' showcase a mix of ethereal melodies and gritty textures, while the closing piece employs reverb-drenched saxophone to evoke emotional complexity. The music, crafted with a cinematic sensibility, engages listeners in a dynamic exploration of personal and communal stories, making Muse a compelling reflection of Anthony's artistic vision and growth.
Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.
Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.
Review: First released in 1980 via the little-known Pick Up Records, Danish jazz-rockers Ariel's self-titled debut record sees an unlikely reissue via Jazz Room here. A worthy reintroduction of the quintet to the world at large - where before it wasn't well-known at all - it comes after the album was recently hepped to by none other than Brownswood aficionado Gilles Peterson, whose encyclopaedic internal memory bank and capacity to chin-wag served the cascading recollection of the album by Jazz Room label boss Paul Murphy. Now the eight-tracker dazzles us once more, fusing jazz with subtle elements of kraut and kosmische to make for bustling, brimming urban fugs, all hemmed together by a consistent baritone sax, and the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe.
Review: The multi-talented Joe Armon-Jones is back in the game with his most ambitious and self-defined solo work yet. All The Quiet (Part II) is a colourful collision of jazz, funk, dub, hip-hop and soul that was entirely written, produced and mixed by the man himself. His work as part of Mercury Prize-winning Ezra Collective is what established Armon-Jones, but his evolution as a solo artist on his own label, Aquarii Records, has been just as essential. This follow-up to 2019's Turn To Clear View features collaborators like Greentea Peng, Yazmin Lacey, Hak Baker and Nubya Garcia and is a deeply personal sound that veers from expansive and cosmic to more intimate and tender.
Review: Jazz maestro and Ezra Collective founding member Joe Armon-Jones presents his most ambitious solo project to date, released on his own fledgling imprint Aquarii Records. After a six-year gap since his last solo album, Turn To Clear View, Armon-Jones has spent his time touring, building a studio, and collaborating with icons of UK jazz, including Liam Bailey, Fatima, Prince Fatty, and Mala over a string of politically-charged EPs. Now All The Quiet promises an august jazz opera in two parts, and so coming complete with an interval, crossing twixt jazz, funk, dub, hip hop, and soul, the album is entirely written, produced, and mixed by Armon-Jones himself, and manifests as the first of a two-part album, featuring guests Nubya Garcia, Oscar Jerome, and Goya Gumbani.
Review: The talented Joe Armon-Jones has been at the centre of some of London's most exciting musical developments in the jazz world in recent years, not least as co-founder of the mighty Ezra Collective. He is a prolific creator, keyboardist, singer and producer who draws on dub, pop, hip-hop and electronica to foment his own style and once again that shines through with this, the first part of his new album on his own Aquarii Records. It is full of standouts like the Afro-leaning drums and summery melodies of 'Kingfisher (feat. Asheber)' with life-affirming lyrics. 'Show Me' has a darker downtempo energy with crashing hits and drums and 'Hurry Up & Wait' ends on a tender note with introspective keys and feathery drums.
Review: Mickey Stevenson signed to Venture Records and soon set to work on laying down a great collection of new music. The best of it is now collected together on this spec compilation which focusses on works made between 1967 and 1969. The title comes from his tune of the same name which also happened to the label's first big hit, despite not getting much play on national radio because it has the word 'funky' in the title, and has since been covered by Rufus Thomas for Stax, Tommy Strand for Fame and Jimmy Bee for Kent. The rest of the tunes are just as raw and impressively funky.
Belle The Sleeping Car (Andrew Llyod Webber, Starlight Express original Cast) (3:45)
A Little Pain (4:04)
Supergrass (2:10)
Electric Dreams (4:23)
Burn It Up (feat The Beatmasters - 7 Inch edit) (3:21)
Perfect Sense (feat Roger Waters - part 1) (4:17)
I Believe (3:50)
Well Well Well (feat Steve Howe) (4:06)
Salobrena (5:11)
It's A Beautiful Thing (feat Ocean Colour Scene - radio edit) (3:30)
I'm Only Dreaming (feat Steve Cradock - demo) (3:02)
Satellite (feat Dr Robert) (5:20)
Like An Old Fashioned Waltz (Live, May 2012) (4:09)
The Love Is Gone (feat The mixture) (2:53)
Different Drum (2:53)
When I Was Part Of Your Picture (3:22)
Soul Survivor (3:12)
Review: This P.P. Arnold album celebrates her remarkable seven-decade career and spans multiple genres with timeless music and unforgettable performances. It is a comprehensive collection compiled by Arnold herself with 25 tracks across a double P including iconic singles, album tracks, unreleased recordings, demos, live performances and rare mixes, many of which are only here and now available for the first time. The set also features detailed sleeve notes by author Jude Rogers which offer an ever deeper dive into Arnold's extraordinary legacy.
Belle The Sleeping Car (Andrew Llyod Webber, Starlight Express original Cast) (3:45)
A Little Pain (4:04)
Supergrass (2:10)
Electric Dreams (4:23)
Burn It Up (feat The Beatmasters - 7 Inch edit) (3:21)
Perfect Sense (feat Roger Waters - part 1) (4:17)
I Believe (3:50)
Well Well Well (feat Steve Howe) (4:06)
Salobrena (5:11)
It's A Beautiful Thing (feat Ocean Colour Scene - radio edit) (3:30)
I'm Only Dreaming (feat Steve Cradock - demo) (3:02)
Satellite (feat Dr Robert) (5:20)
Like An Old Fashioned Waltz (Live, May 2012) (4:09)
The Love Is Gone (feat The mixture) (3:05)
Different Drum (2:53)
When I Was Part Of Your Picture (3:22)
Soul Survivor (3:12)
Review: We've checked ourselves thoroughly, and even though PP Arnold's new greatest hits compilation Soul Survivor is indeed the first to reflect on her extensive career - one that has remained consistent since the 1960s - we can assure you we're not suffering from survivorship bias! The life and work of Patricia Ann Cole is duly honoured here on this Demon Music retrospection, requiting the boundless, panacean soul music the American singer has let escape her lungs over the years. Now in her seventh decade of performing and releasing music, Arnold shows no signs of holding back; Soul Survivor first appeared on the scene as a humungous 57-song box set, and it is now condensed down to 25 of the very best selections.
Review: Aron and the Jeri Jeri Band's debut album Dama Begga Nibi (I Want To Go Home) is a dynamic fusion of Senegalese tradition and global influences. Founded by Berlin-based composer Aron Ottignon and Senegalese griot Bakane Seck, the album blends Mbalax, jazz, afrobeats, reggae and electronic sounds, reflecting the rich interplay of cultures in today's music scene. The title track, 'Dama Begga Nibi;, opens with Pape Diouf's evocative vocals and a poignant longing for home amid lockdown isolation. 'Sunugal', with Ale Mboup's expressive voice and a children's choir, underscores the central role of music in Senegalese culture with a heartfelt homage to the country's traditions. Tracks like 'Mama Djuma' and 'Teddoungal' bring funk, soul, and rhythm that invite movement, while 'Bongo Boys' and 'Jeri Jeri' deliver pulsating electronic beats ideal for lively settings. 'The Return Of The Golden Egg' in particular is very exciting with its blend of pop, rhythm and blues, Calypso and the unique electronic sounds. The album closes with 'Strange People', featuring Aicha's stunning vocals recorded by the Saloum River, providing a serene conclusion. Dama Begga Nibi beautifully illustrates the seamless blend of historical and contemporary influences, celebrating both tradition and modernity.
Go Now Wetiko (feat Americo Brito & Mariseya) (5:59)
Roi Salomon (feat Mariseya) (5:24)
Duncan Truffle (3:14)
Review: Niels Nieuborg is Arp Frique, an artist who made a bold and brilliant debut on Rush Hour a few years ago and has never looked back since. His 2018 album Welcome To The Colorful World of Arp Frique showed off his fresh take on disco with a host of collaborators and now he once again lays down the beats while various guests appear on this new EP on Colourful World. Elements of zouk, highlife, Afro-disco and many more worldly rhythms lend these cuts their unique and characterful style. Analog drum machines, kick rhythms and psyched out synths all sit next to great vocals for a kaleidoscopic trip like no other.
Review: Warren Oree is an acoustic bassist, producer and composer who founded The Arpeggio Jazz Ensemble in Philadelphia in 1979. The adventurous outfit are eclectic and have a far from predictable sound that combines acoustic sounds with African and Middle Eastern influences, a hint of Afro-Cuban Orientalism, spiritual jazz and avant garden flourishes. This album was recorded in 1980 and has a truly worldwide sound that very much fits in with the sound of the current jazz revival. There is cool jazz on 'Wet Walnuts and Whipped Cream', percussive drenched grooves on the title track and much more besides. A real classic.
Review: Brazilian artist Lucas Arruda, is fast becoming a regarded figure in the Latin scene. 'Ominira' is his latest long player that once again, finds a home on the French label Favorite Recordings. An album full of rich sounding musical textures that cross boundaries and bridge many genres such as Latin, soul, house, jazz and pop. The vibrant summer jams 'The Bravest Heart' and 'Novos Planos' are A-side standouts that will surely excite veteran and new listeners alike, who are into World music. '4:28' and 'The Mountain' start the second side with some catchy instrumentals that give off memorable beachy 70s vibes. ' Projecoes' closes the album with one of the most soulful performances of the album. All and all, you have a wonderful sounding jazzy grooved piece that ups the expectation of what a Latin jazz album can be. Cafe Del Mar approved!
Review: Campania-based combo Asakaira has delivered a genuinely brilliant debut album here. Rooted in improvisation and the collective's combined love of jazz, Afrobeat, jazz-funk, hip-hop and the Afro-cosmic sounds that have long been a staple of Italy's underground music culture, the album's six original tracks (the seventh is an alternate 'Night' take on the jaunty, energetic and percussive 'Skijii') bristle with imagination and inventiveness. For proof, check the tropical disco delights of 'Night Tales', the head-nodding hip-hop-jazz of 'Chatting With You' and the dubby jazz-not-jazz shuffle of 'Moon Phases', a track that just intensifies and gets bigger as it progresses.
Review: Scottish funk legends Average White Band knew exactly how to present themselves to the world when they burst onto the scene in the early 70s. Funk was reaching a peak of global popularity, but after failing to make an impression with their debut album Show Your Hand, AWB were under pressure to deliver the goods for their follow up. Relocating to LA and breaking the US market was pivotal, and their so-called 'white album' exceeded expectations when all-time classic jam 'Pick Up The Pieces' became a worldwide hit. The track even received a tongue-in-cheek riposte from The JB's, high praise indeed. This half-speed remastered version marks 50 years since the album came out and it still sounds as fresh and funky as ever.
Review: The music of David Axelrod is a rite of passage for many record collectors. The great composer, arranger and multi-instrumentalists crafted several seminal albums that all take you deep into gorgeous worlds of jazz, funk and library music with narratives you'd expect in film scores and emotion in high supply. Heavy Axe might be one of his best and so this welcome reissue is a timely reminder of that. Its sweeping strings, grand horns and orchestral arrangements ebb and flow with great drama and absorbing artistry so stick it on loud and give yourself over to its rare pleasures.
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