Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: Tokyo's Inokasira Rangers have been crafting lo-fi reggae since the 1990s, yet remained a rather hidden gem outside Japan. Their release 'Can't Take My Eyes Off You' finally changed that when it dropped initially back in 2023 and sold out in quick time so now gets reissued. The A-side reimagines Frankie Valli's classic with a laid-back reggae twist while the B-side takes on Crystal Waters' '90s dance anthem with surprising charm. Infused with a subtle Shibuya-kei flair, both covers feel fresh yet timeless. The Waters rendition, in particular, sounds like a forgotten folk tune-so natural it's hard to believe it wasn't always this way. A breezy, nostalgic delight from a band overdue for global recognition.
Review: The always busy Record Store Day 2024 release schedule has turned up another pearler here as Ann Young and Yuki Ohno Trio's 'Speak Low' gets a special reissue on 7" courtesy of Nippon Colombia. 'Speak Low' is a cut that showcases Young's expressive vocal style in all its glory as it implodes and explodes over 100-mile-an-hour double bass and light, airy triages, hi-hats and feathery drums. On the flip is another standout vocal jazz cut 'On Green Dolphin Street' that makes this an essential cop.
Review: Another week brings another monster new 45 from the incomparable Athens of the North. This time out it is an early 80s bit of irresistible gospel, disco and boogie from Earl Young. 'Take Them In Prayer' is pure gold thanks to its tight and funky rhythm section, the delicate thinking on the keys and the heart aching vocals of earl Young that soar up top. Flip it over and on the reverse of this one and you will find 'Let Him Be Your Everything,' a quiet love song with only melancholic keys for company. It's the complete opposite of the a-side but is just as devastating for different reasons.
Review: Inell Young's What Do You See In Her is often said to be one of the most powerful soul songs to have ever come from the great New Orleans scene. Eddie Bo is of course the great man behind it - as he was so many of these great tunes from this place and this ear - with the voice of Inell adding the spice. Finding an original is hard as, and will also cost you very close to four figures, so snap this one up while you can. Both sides are pure gold.
Review: The celebration of this series continues with a reissue of the second installment of the legendary Christmas salsa album. Willie Colon and Hector Lavoe returned here to bring the unique sounds that made Volume I a Latin music classic. For this one, Colon and Lavoe were joined by renowned cuatro player Yomo Toro and legendary percussionists Milton Cardona and Jose Mangual Jr. Together, they crafted salsa versions of beloved Puerto Rican Christmas songs while mixing traditional musica jibara with Cuban guaguanco, son montuno and African-American jazz. It delivers on all fronts with vibrant, festive blends that bring real Puerto Rican authenticity to salsa fans worldwide.
Review: Those interested in Japanese cartoons should know Space Adventure Cobra. First broadcast in 1982, it is now considered one of the country's finest animated TV series. This triple-vinyl box set celebrates Kentano Haneda and Yuji Ono's music from the series, combining compositions featured on the show with unheard extended versions and tracks that never made the cut first time round. Musically, it's a mix of Japanese disco, sax-sporting lounge jazz, jazz-funk, neo-classical movements and eccentric interludes, all doused in layers of cosmic dust and stargazing colour. The release also comes packaged with a 12-page booklet telling the story of the series and the making of the appealing, endlessly entertaining soundtrack.
Review: In 2002, the Japanese government recognized bamboo flute maestro Hozan Yamamoto as a "living national treasure". It was in honor of his lengthy career in music, and in particular the way he championed a traditional Japanese instrument even when he was turning his hand to Western music. "Beautiful Bamboo Flute", an album first released in 1971 and almost impossible to find since, is a superb example of this. It sees him deliver haunting, emotional and life-affirming solos over funky jazz, big band and fusion backing tracks that tend towards the fresh and funky. It's an unusual blend, but also an invigorating and exciting one.
Review: An overlooked spiritual classic in two parts, Yamash'ta & The Horizon were a one-off project consisting of a hat-trick of musicians seeking to perfect their craft. In 1971, Hideakira Sakurai, Masahiko Satoh, Stomu Yamash'ta and Takehisa Kosugi gathered in Japan to perform an invite-only concert to a handful of friends. Deep and distinctive electric shamishen becomes a sonic centrepiece over the course; handled by Sakurai, the sound is haunting, like a lone voice amidst a sea of percussive nymphs. Sloshing koto, percussion and eruptions of awe from the crowd all dominate the moments of downtime; a timeless snapshot of Fluxus Japan.
Review: Unlike previous instalments in the 180g label's Wamono series, this isn't a compilation in the strictest sense of the term, but rather a retrospective. It showcases a range of killer jazz-funk and rare groove tunes recorded at Nippon Columbia studios in the mid 1970s by arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakahuchi master Kifu Mitsuhashi. Highlights come thick and fast throughout, from the mellow, slow-burn lusciousness of 'Nanbu Ushioi-Uta' and the up-beat, guitar solo-laden brilliance of 'Hohai-Bushi', to the all-time Japanese jazz-funk classic that is 'Saitaro-Bushi' and the solo-laden brilliance of 'Asadoya Yunti', whose dazzling Fender Rhodes solos are reminiscent of the early '70s work of the late, great Billy Preston.
What A Little Moonlight Can Do - Tsuki No Itazura (2:06)
East Of The Sun - Taiyo No Higashi No Shima De (8:45)
You'd Be So Nice To Come Home To (0:21)
Cry Me A River (5:45)
Namida Koi (3:34)
Mr Something Blue (3:17)
Kojo No Tsuki (3:02)
Funauta (4:28)
Bei Mir Bist Du Schon - Suteki Na Anata (0:33)
Ai No Shuchaku Eki (0:41)
Hana Suisen (6:14)
Honne (10:42)
Review: Aki Yashiro's album Yashiro Aki to Suteki Na Shinshi no Ongakukai: Live in Quest captures the essence of her enchanting stage performances. This live recording is a wonderful way to immerse yourself in Yashiro's signature blend of traditional and contemporary styles, her stunning vocal range and emotive delivery. The album features a world of elegant melodies all thanks to a skilled ensemble that enhances the overall experience. Each track is musically vibrant but allows Yashiro's charisma to shine and the live setting adds an authentic energy that makes this an all the more unique listen.
Review: YASMIN's much loved A Scent Of Flowers album has more than stood the test of time which is why it is now being reissued for the first time. It features the 90s r&b classic 'Wanna Dance' which has long been a staple in many mixtapes and dance compilations. This edition also includes a cover of Roy Ayers' ubiquitous 'Everybody Loves The Sunshine' which was the second successful single on the album which was first released in 1993. It's back by Soulshock who is known for his work with 2Pac and Monica, and Cutfather, famous for remixing Mark Morrison's 'Return Of The Mack.' Elsewhere on the record are many more killers including covers of 'Best Of My Love' and Ray Charles' 'Let Me Take Over.'
Review: 'Sayonara Ha Syuppatsu No Kotoba' roughly translates as "Goodbye is the Word for Departure" and is a striking blend of Japanese indie and folk music. The album combines rich acoustic melodies with introspective lyrics to make for often poignant and nostalgic atmospheres with Yasuda's emotive voice at the heart of the sounds. The band's intricate instrumentation reveals more with each listen and the record explores themes of departure, self-reflection and the bittersweet nature of transitions. They might sound heavy but the delicate soundscapes also capture both moods of vulnerability and resilience which adds to the tender, affecting nature of the record.
Review: Larry Young was an American jazz organist, whose claim to fame lay in his use of the Hammond B3 organ in a genre context it wasn't regularly used for: post-bop. 'Unity' came out in 1965, and saw him collaborate with trumpeter Woody Shaw, saxophonist Joe Henderson, and drummer Elvin Jones. The aim was to transcend each artist's tendency towards individualism, producing a stunning mood piece that brought out the organ in a surreptitious yet noticeable context. Young's playing renders the instrument popping, bright and vibrant.
Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.
Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.
The Midnight Hour - "Jazz Is Dead" (Georgia Anne Muldrow Geemix) (2:42)
Joao Donato - "Desejo De Amor" (Akili remix) (1:49)
Joao Donato - "Liaisons" (Dibiase remix) (6:03)
Azymuth - "Rendor Do Samba" (DJ Spinna remix) (5:27)
Review: Since launching the Jazz is Dead series two years ago, Adrian Younge and Ali Shaheed Muuhammad have released eight studio albums - each a collaboration with a different figure from the jazz and soul spectrum - and a compilation of instrumental takes. It makes sense, then, that volume 10 is a remix album, with a variety of producers putting their stamp on cuts from the pair's expansive joint catalogue. As you'd expect, it's packed to the rafters with killer hip-hop, downtempo and broken beat reworks, with highlights including Cut Chemist's head-nodding, cinematic hip-hop take on Gary Bartz hook-up 'Soulsea', Shigeto's contemporary spiritual jazz revision of Brian Jackson co-production 'Nacy Wilson', and DJ Spinna's squelchy, house-not-house rub of Azymouth collaboration 'Rendor Do Samba'. Soulful, jazz-fired perfection.
Review: Performer, composer and educator Brandee Younger is an accomplished ensemble leader who has worked with the likes of Lauryn Hill and Phaorah Sanders. Here she is back at the front of her own troupe with an album that was recorded in New York City at the legendary studio of Rudy Van Gelder. The music is richly detailed contemporary jazz but with echoes of Black greats like Alice Coltrane and Dorothy Ashby. Legendary bassist Ron Carter appears as does Tarriona Tank Ball to make this a real jewel of a record.
The Blood Will Never Lose Its Power (feat Linda Tellis) (2:29)
I Need To Pray (feat Iris Holliday) (3:40)
The Greatest Love Of All (feat Ken Berry) (5:38)
Lord Don't Move That Mountain (feat Goldie Irby) (5:44)
Expressions (feat Kevin Moore & Larry Patterson) (4:17)
When All God's Children Get To Heaven (feat Wanda Thompson) (5:05)
Be Grateful (feat Traci Clay & Dennis Springer) (8:39)
Review: The spirit of the lord is strong in this recording from May 2, 1982 when the Youthsound Choir and Stage Band performed at Portland's Jefferson High School, with the 100 strong choir ranging from elementary through to high school students. It's a lively, rowdy affair, where the drums power through and the brass lifts your mood and catapults it skywards. You'll certainly know some of the songs - there's a great version of 'The Greatest Love' that so much less sentimental than the original, for instance - but the performances are unique, as is the intimate live atmosphere, captured perfectly here on what was originally a community radio and cable access broadcast.
Review: Yuna's self-titled debut album came with three tracks produced by none other than Pharrell Williams. That was a decade ago when she was just 24 years old and one of the hottest properties in the scene. Freshly signed to Fader for the album, it was a great showcase of the young singer's voice across a mix of sounds that took in r&b, soul and pop with a mature edge and moving emotional narrative. It was initially only put out on CD but a decade on that is corrected as Fader drop this vinyl version just in time for Christmas.
Tioga Pass (feat Rocco Palladnio - live From Malibu) (5:57)
Tidal Wave (live From Malibu) (3:24)
Portrait Of Tracy (3:43)
Black Classical Music (Malibu version) (4:33)
Malibu (2:08)
Mountain Steppa (5:30)
The Colour Purple (2:39)
Review: Yussef Days, a virtuoso drummer, has injected fresh energy into contemporary jazz and broken beat genres through multiple innovative projects, each showcasing his remarkable talent. One of them is The Yussef Dayes Experience which recently dropped its Live At Joshua Tree Presented By Soulection album and now follows it up with another live album, this time from Malibu, on Gilles Peterson's revered Brownswood label. It features music from his critically acclaimed debut solo album, Black Classical Music, and plenty of other gems on limited vinyl with features from his usual longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt.
Review: Brownswood Recordings has high hopes for this debut album from the previously unheralded Yussef Kamaal, which brings together hyped producer Kamaal Williams (AKA Henry Wu) and fast-rising Afrobeat drummer Yussef Dayes. With such talent to draw on, you'd expect Black Focus to be rather good. Happily, it is, with the duo delivering a typically London-centric take on jazz funk. That means that they take as much inspiration from the work of Kaidi Tatham as, say, Herbie Hancock. The key to the album's success - and, yes, it is generally as special as Gilles Peterson suggests - is the fluid combination of Dayes' brilliant drumming and Williams' superb synth solos and effortlessly groovy Rhodes playing.
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