Review: From Sekondi-Takoradi, Ghana, Gyedu-Blay Ambolley returns with another simmering display of his self-styled Simigwa-funk-part highlife, part jazz, part proto-rap, all unmistakably his own. Still sharp at 77, Ambolley commands a tight ensemble through groove-led declarations like 'Wake Up Afrika' and 'U Like Or U No Like', riding swung basslines and crisp horn arrangements with the flair of a master bandleader. 'God E See You' finds him slipping into a smoky, Afro-soul register, while 'New Simi Rapp' stretches out into hypnotic territory, led by flutes, baritone sax and rhythmic mantras. 'Ochoko Bila' and 'If You Want To Know' are more playful cuts, full of bounce and quick-fire wisdom. The production, split between Ghana and the Netherlands, balances live grit with rich detail-everything breathes, nothing is wasted. As ever, Ambolley's voice is both storyteller and instrument: loose, commanding, and deeply rooted in diasporic sound. This is music that moves and means.
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 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: 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: Thrumming with conceptual aplomb, jazz mastermind and Ezra Collective co-founder Joe Armon-Jones's new album All The Quiet is finally revealed to us. Residua of jazz, funk, dub, hip hop and soul abound on the second chapter of a two-part Aquarii Records release, which Jones founded. With guest features from the likes of Greentea Peng, Yazmin Lacey, Hak Baker and Oscar Jerome, the record complements Jones and Aquarii's stated mission to blend genres and cross stylistic streams, from atmospheric electronica to dub, while building and subverting tropes of apocalypse, prophecy and redemption.
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.
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: Arp Frique & The Perpetual Singers come together for this most personal gospel funk album which was inspired by the birth of Frique's daughter, Jesamy. It finds the Amsterdam-based multi-instrumentalist mixing up organic funk with obscure synths, bubbly basslines that are always on the move with swirling guitars that add the colour and all make for an unusual and interesting mix of P-funk and gospel-disco. There are plenty of universal messages throughout which all emphasise the need for unconditional love while legendary vocalists like Dennis Bovell, Muriel Blijd, Mariseya, Brandon Delagraentiss and Rocq-E Harrell contribute to the powerful sound. Delagraentiss's choir, The Gospel Experience, also do their bit by adding big, rich, heartfelt vocals. It's quite the listen.
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.
Review: The legendary Roy Ayers has a wealth of great material to his name but Virgin Ubiquity: Unreleased Recordings 1976-1981 might just be the cream of the crop. It's packed with gold that fuses soul and funk, jazz and disco into a load of killer cuts that never got their own release. There are husky vocal tracks featuring Merry Clayton on "Oh What A Lonely Feeling," "I Really Love You" and "What's the T?", sensual soul stirrers from Carla Vaughn such as "Mystic Voyage" and "Together Forever" and of course liquid synths and rhythm sections underpinning each of the tracks.
Review: This is the second part of Virgin Ubiquity: Unreleased Recordings 1976-1981and is again packed with tracks that are far more than unreleased findings from the cutting room floor. Each one serves as another feather in the bow of the virtuoso Ayers, who combined jazz, funk, soul and disco in magical and unique ways throughout his career. In doing so he laid down a precursor to acid jazz and hip hop. These are tracks that show off his dynamic, liquid rhythm sections and mellifluous keys, as well as the vocal talents of a range of collaborators who touch on soaring and sensuous highs as well as more gravel and earthy lows. Essential.
Review: Massive reissue incoming! BBE have answered many of our prayers with this long awaited repress of Roy's 1983 disco funk excursion "Silver Vibrations". A record that's currently fetching triple figures, this is the first time it's been repressed since it was released. Opening with the iconic whispered message of "Chicago", Roy takes us on a trip through his funkiest of quarters; the salubrious slap bass of "Lots Of Love", the Afrobeat staccato vocals and glock rocking vibrancy of "Silver Vibrations" and the dreamy cosmic jazz trip of "DC City" are just some of the highlights, all shared across the 12"s with no more than two tracks per side. Vibes that can't be slept on.
Review: Roy Ayers' 1968 jazz opus Stoned Soul Picnic might be less beloved or revered by fans of the vibraphonist, but it is nevertheless a deeply affecting slice of jazz mindfulness and fittingly contrasting mood, consisting entirely of covers of songs by the likes of Laura Nyro ('Stoned Soul Picnic', after which the album takes its namesake), Charles Tolliver ('Lil's Paradise') and Edwin Birdsong ('What The People Say'). We now hear a full-quality reissue via Nature Sounds.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: It has been a full half a century since legendary Brazilian outfit Azymuth made their debut and their new album, Marca Passo, reaffirms their place as legends of jazz-funk. It was recorded in Rio and produced by Daniel Maunick and is the group's first album since drummer Ivan "Mamao" Conti's passing, with bassist Alex Malheiros now the sole founding member. He's joined by Kiko Continentino and new drummer Renato Massa to continue Azymuth's tradition of blending samba soul, funk and cosmic jazz. Highlights include a tribute to Conti, 'Samba Pro Mamao,' and a refreshed take on 'Last Summer In Rio.' The album is a vital, heartfelt continuation of Azymuth's enduring legacy.
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: Tonal treasures and "three-man orchestra" Azymuth mark fifty years of service to the progosphere with Marca Passo, largely a conduit through which to reflect on the of loss of their founding drummer Ivan "Mamao" Conti in 2023. Now with only bassist Alex Malheiros as the last surviving original member, and joined by longtime keyboardist Kiko Continentino and new drummer Renato Massa, the new record deepens Azymuth's signature blend of samba, jazz-funk and 70s MPB studio textures. A rework of 'Last Summer In Rio' is an especial great, as it brings in Incognito's Bluey as a nod to Bertrami, while 'Samba Pro Mamao' honours Conti.
Review: Far Out takes a second deep dive into the previously unheard early demos of Brazilian jazz-funk greats Azymuth, offering up more unpolished gems recorded during the years as one of Brazil's most sought-after session bands. Interestingly, much of the material is closer in tone and style to their subsequent releases, though some of the rhythms, solos and basslines are arguably a little wilder and more experimental. Highlights include the fizzing opener "Duro De Roer", the sweaty and percussive brilliance of "Bateria Do Mamao", the Blaxploitation influenced spy-chase madness of "Quem Tem Medo" and the surprisingly smooth "Manha", the demo that eventually earned Azymuth a recording contract.
Review: Before they found fame with their 1975 debut album, Azymuth divided their time between working as backing musicians (attending recording sessions with some of Brazil's top talent) and recording experimental home demos. Recently rediscovered, these demos are finally being given a release thanks to the efforts of Far Out chief Joe Davis. There's much to admire on this first batch (a second volume is also available) of previously unheard early recordings, from the high-octane Brazilian funk insanity of "Prefacio" and Jimmy Smith-esque "Melo De Cuica", to the spacey samba/jazz-funk fusion of "Xingo (Version One)" and the relaxed, slow-burn brilliance of seven minute B-side opener "Laranjeiras".
Last Summer In Rio (feat Jean Paul 'Bluey' Maunick) (8:36)
Review: Released 50 years after their self-titled debut, Azymuth's Marca Passo feels less like a comeback and more like a confident continuation, with the legendary Brazilian outfit carrying its past into the present with all the same vigour that marked their winding career. The formula remains intact: Brazilian jazz-funk, dreamy synths, and loose but locked-in rhythm. There's something moving in how naturally the trio i with Alex Malheiros still at the helm i navigates loss, memory and legacy without turning sentimental. 'Samba Pro Mamao' is a tender nod to Ivan Conti, but the record never lingers in nostalgia. Daniel Maunick's production keeps things warm and fluid, and there's joy in hearing Incognito's Bluey drop in on the rework of Last Summer in Rio. Not flashy or forced. Just a deep, grooving reminder that Azymuth's music still flows from somewhere timeless.
Review: The latest must-cop record from the good people at Big Crown is a real summer special. Bacao Rhythm & Steel Band serve up some seriously soul-enriching grooves, with the impossibly warm and good time vibes that come from steel drums on each and every one. The beats are rooted in funk, with fat bass and expressive horn work bring each one to life. There are sojourns into dub, disco and jazz, and the whole thing bris with so much character and personality that it cannot but put a smile on your face.
Review: Bacao Rhythm & Steel Band, the enigmatic steel pan group from Hamburg, made waves in 2024 when their cover of 50 Cent's 'PIMP' was featured in the Oscar-winner film Anatomy Of A Fall. The track played a key role in the movie's success and led to the first-ever steel pans in the orchestra pit at the Academy Awards, further boosting the band's saliency. And yet despite global recognition, 'PIMP' is just a glimpse of their catalogue, which is already rather extensive. Since signing with Big Crown in 2014, Bacao've released four albums and numerous singles, and Big Crown Vaults Vol. 4 flaunts many of these dishings-out, with covers of Bob James' 'Nautilus', Khruangbin's 'Maria Tambien', and the uptempo original 'Kaiso Noir'. It serves as a tantalizing bud-whetter, too, before their oncoming fifth studio album.
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