Joy (Hallelujah) (extended instrumental version) (5:46)
Review: Golden-era hip-hop legend DJ Marley Marl continues his adventures in house music, and this time he's got soulful house royalty - specifically Kenny Bobien and Lady Alma- in tow. 'Joy (Hallelujah)' is as righteous, uplifting and life-affirming as you'd expect: a horn, organ and piano-heavy slab of hands-in-the-air brilliance topped off with some sublime gospel lyrics and vocals from Bobien and Alma. We'd argue the track is best in its full vocal 'Extended Mix' form, though the accompanying instrumental is still superb - and arguably more suitable for those who are uncomfortable with the (admittedly joyous) religious messaging within the lyrics. Testify!
Review: Since launching two years ago, Tony Higgins and Mike Peden's J-Jazz series has become an indispensable guide to Japan's modern jazz scene. The third volume continues in a similar vein to its predecessors, gathering together sought-after, overlooked and little-known cuts from across the jazz spectrum (think spiritual, modal, fusion, post-bop and Latin), all of which were recorded by Japanese artists in the 1960s, '70s and '80s. The standard of music is, somewhat predictably, breathtakingly high throughout, with highlights including the weighty post-modal bop of Koshuke Mine's 'Morning Tide', the sun-kissed Brazil-inspired brilliance of Hideo Shiraki's 'Groovy Samba', and a string of funk-fuelled, dancefloor-friendly workouts from Hiroshi Murakami & Dancing Sphynx, Shigeharu Muka and the Ryojiro Furusawa Quartet.
Review: BBE comes through with another on-point reissue. This one is a towering giant in the world of J jazz that Masao Nakajima Quartet recorded back in 1979, originally for Yupiteru Records. It is a record that manages to strike a perfect balance between delicate and refined playing with real power and vigour that makes you take note. It features bassist Osamu Kawakami leading the way with sax from Toshiyuki Honda and American drummer Donald Bailey who has worked on countless Blue Note sessions. It is a fusion record with real spirit and a proudly acoustic sound. The album is part of the BBE J Jazz Masterclass Series which is all about reissuing the very best in Japanese jazz.
Review: To those who know, Maulawi was a legendary band leader and influential musician. The virtually unknown and previously unreleased album Ortunds is a long player he composed himself and one that draws on pop and r&b style songs that are all taken up a level by the funky tempos and Maulawi's own creative soprano saxophone. The album was recorded for Strata Records but the story is different depending on who tells it - either these are parts from a session for another album or from an unmixed session that took place in the Streeterville neighbourhood later. Either way, it's sure to become a cult classic.
Original Nairobi Afro Band - "Soul Makossa (No 1)" (7") (4:20)
Sir Victor Uwaifo & His Melody Maestroes - "Jungle Beat (Mutaba)" (3:05)
Review: Jump 'N' Funk started life as a small event in New York, organized by Rich Medina in order to pay tribute to the genius of Fela Kuti. Since then, parties have been held across the world, with Medina and guests showcasing music by, or inspired by, the Nigerian Afrobeat legend. This debut Jump N Funk compilation follows a similar formula, delivering both purist Afrobeat cuts (see Fela's punchy "Stalemate", and "Na Oil" by son Seun and his band, Egypt 80), and tracks in other styles that draw heavily on the style. Highlights in the latter category include the hazy Afro hip-hop of Aquil, a tasty Afro-house dub of River Ocean's cover of Timmy Thomas' classic "Why Can't We Live Together", and the lazy, sun-kissed glory of Kutiman's "Bango Fields".
Review: You might know Airto Moreira and Flora Purim as the King and Queen of Brazilian Jazz and for good reason. They have spent more than the last half decade putting out some of their homeland's finest and most richly rewarding jazz albums as well as playing exhilarating live shows all over the world. They have found favour with jazz lovers everywhere as a result, from Japan's concert halls to the UK's jazz-funk scenes. If You Will was their last album back in 2022 and it got a Grammy, and now A Celebration: 60 Years - Sounds, Dreams & Other Stories brings together some of their best work from over the last 60 odd years. Essential stuff.
I Don't Remember The Last Time I Saw Stars (11:11)
Review: Following their acclaimed debut album Sugar Honey Iced Tea!, NYC duo Musclecars aka Craig Handfield and Brandon Weems are back with a double pack of alternate versions and remixes featuring house legends Louie Vega and Maurice Fulton. Vega reworks 'Tonight' with orchestral flair and festival-ready dub versions including the NV South Jersey Mix and his Bronx Dub. Maurice Fulton's remix of 'Hello?' blends his signature live bass and punchy percussion to add a whimsical touch to the introspective original. The pack also includes stripped-down versions of 'Ha Ya! (Eternal Life)' and 'Water' plus a full side of Musclecars' 'I Don't Remember The Last Time I Saw Stars.'
Review: Waaju & Majid Bekkas's Alouane exemplifies the power of collaboration during challenging times. As bringing overseas artists to the UK grows increasingly difficult, this record bridges cultural and generational gaps while capturing the vibrant energy of live collaboration post-Covid-19. Conceived by Waaju bandleader Ben Brown, the album features his expansive arrangements of traditional Gnawa songs and blends Bekkas' musical prowess with Waaju's signature grooves and trippy delays. Bekkas, a key figure in Moroccan Gnawa music, had never collaborated with a UK band until this project. Alouane, meaning "colours" in Arabic, reflects the seven integral colours of Gnawa music, each invoking different spirits.
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