Back catalogue: All genres

Review: Joyce Moreno, a legendary Rio-born artist, is celebrated for her exceptional voice, musicianship, and songwriting. With over 30 albums in a career spanning more than 50 years, she continues to enchant audiences worldwide. Her iconic track 'Aldeia de Ogum,' known for its vibrant jazzy arrangement and rich samba rhythms, became a staple in London's Acid Jazz scene, championed by DJs Patrick Forge and Gilles Peterson. Originally featured on her 1980 LP Feminina and our 1997 Essential Joyce compilation, this beloved song first appeared on 7" through the Brazil 45 series. Rosinha de Valenca, another Rio native, was a revered composer, arranger, and guitarist who collaborated with giants like Baden Powell and Sergio Mendes. Her instrumental rendition of Gershwin's 'Summertime,' from her 1975 LP Um Violao Em Primeiro Plano, shows off her exquisite guitar skills accompanied by lush strings, delivering an emotionally stirring performance. A lot of great history on one 7".

Review: Athens Of The North will always be one of our favourite labels no matter what they're serving up. The Edinburgh-based deep diggers this time look to Race 'N Rhythm, which was once upon a time a 12-member jazz group based in Oakland. Jazz-master Rudolph Peters managed the multi-racial band and though they were admired on the vocal live circuit they only ever released one single before later doing an album. 'Space Saver' was recorded in California in 1982 and is a sultry and romantic soul sound with leads and coy rhythms. 'Candybar Superstar' on the backside is a pure fire dancefloor heater with high-energy claps, horns and vocals.

Review: Craft Music's Good For Dance series continues with its second instalment and this one has been curated by none other than DJ Craft himself. Joining him are talented pals Schmoltz, Bogdan Ra, Romain FX, and Outra, also known as Joutro Mundo. These deep diggers are celebrated for their prowess in unearthing hidden gems and transforming them into dancefloor anthems and that's what they do here as each artist brings a unique flavour to the mix. Schmoltz's 'Luv The States' is a peak-time percussive disco jam, Bogdan Ra brings some slap-funk drums and glossy Italo synths and 'Tell Me Why' has crunchy drums and jagged synth stabs before a camp closer in 'Colosso'.

Review: Individuality, Harmony, Wit.
Originating from the heart of Asia - Taipei, Taiwan, Zy The Way is a fusion collective spear-heading a new musical movement in a digital age. As the offspring of a film director, entertainers and multi-genre musicians, Zy The Way aims to create artistic content that will rock your socks. We believe that true balance is achieved not through the uniting of different social groups, but when we come together with our stories as an individual. Voices and vision, musical styles, personalities, and our own beliefs, Zy The Way is the fabrication of our collective imagination, where no one is left out.

Review: Percussionist Robin Jones was one of the earliest - and eventually longest-serving - exponents of Latin jazz in the UK. While he guested on hundreds of records and was still playing a couple of years before his death at 84 last year, Jones only ever released a handful of albums under his own name. Arguably the best - and certainly most popular amongst Britain's legion of jazz-dancers - was 1972's "El Maja", credited to the Robin Jones Sextet. A scintillating fusion of Afro-Cuban and Afro-Brazillian rhythms laden with sprightly woodwind and brass sounds, jaunty piano, jazz-funk Rhodes sounds and notable nods towards rhythm and blues, the hard-to-find album has now been reissued by legendary London jazz DJ Paul Murphy's Jazz Room Records imprint. It should be an essential purchase for anyone who loves Latin jazz.

Review: Jazz Room Records is back with another high class reissue of an album that is considered to be a grail by those who know. The story goes that back in the late 70s in the Seattle area of the Pacific North West, Danny Ward & Reality were an oft called upon funky jazz collective for anyone throwing college or hardcore funk parties. Rather than just serving up covers of the day's big hits they offered proper musical trips though more considered fair from artists like George Benson. This album catches them at their best on one such mid-week gig in the summer of 1977.