Elisio Gomes & Joachim Varela - "Chuma Lopes" (5:29)
Tchiss Lopes - "E Bo Problema" (3:27)
Americo Brito - "Babylon 79" (3:31)
Jose Casimiro - "Djozinho Cabral" (5:06)
Nho Balta - "Posse Bronck" (2:25)
Kola - "Lameirao" (5:18)
Cabo Verde Show - "Nova Coladeira" (3:29)
Tam Tam 2000 - "Melhor Futuro" (3:48)
Pedrinho - "Chema" (3:11)
Dionisio Maio - "Mie Fogo" (3:45)
Bana - "Canta Cu Alma Sem Ser Magoado" (3:34)
Review: After that magnificent compilation from Analog Africa from summer 2016, we have become increasingly obsessed with the sound of the Cape Verde islands, an archipelago off the coast of West Africa. Until recently, its musical culture hadn't quite permeated the Western world, but things have changed. Thanks to that aforementioned compilation, and now this new collection of stupendous tunes compiled by the young Ostinato Records, we have realised just how amazing the island's music tradition really is, particularly in the 70s and 80s. These guys were ahead, using a mixture of local Creole singing and visionary synth experimentation, the have constructed a sound of their own, utterly inimitable and instantly recognisable. The same familiar names appear on this new comp, including Abel Lima, Tchiss Lopes, Jose Casimiro, and a whole slew of previously untapped artists. To us, this is the best form of outernational on the market at the moment, and we couldn't recommend this enough. KILLER.
Review: Elemental Music's Caetano Veloso reissue series continues with a fresh edition of his 1973 album "Araca Azul". The set remains one of Veloso's most interesting and entertaining, primarily because it marked a departure from his previously warm and softly spun sound towards more experimental territory. While there are plenty of gently samba-soaked songs dotted around the album, the ten-track set also includes semi-improvised jazz, music concrete inspired vocal sound collages, suspenseful soundtrack jazz, stripped-back folk songs, and creepy, otherworldly soundscapes that sound like free improvisations. It's a curious musical mix, but arguably all the more entertaining for it.
Review: This official reissue of Arthur Verocai's classic self-titled album from 1972 sounds very much like the epitome of a labour of love for Mr Bongo. The press release states the Brighton-based jazz funk archivalists have had this album on top of their reissue hitlist and with the permission of Sir Arthur himself have come through with this official vinyl reissue in newly remastered form from the original Continental master tapes. Do we need to set the scene for this masterclass in long players from Verocai? The ten tracks bristle with sonic fusion, transcending genre to become something more than Brazilian jazz funk across its sublime 29 minutes. Alongside contributing musicians, Verocai invites the listener on a journey through Bossa nova, samba, jazz, MPB, psychedelics and funk. Tip!
Review: Recorded in 1983, the album is a musical gem. Self-produced, Wilfred Percussion is composed of covers and original compositions. Covers include original titles by the unclassifiable Hermeto Pascoal as well as Milton Nascimento, and are reinterpreted here in a totally unique fashion with that distinctive Italian groove.
Wilfred Percussion is an album which allies funk to MPB with jazz undertones, introducing the listener to a singularly fresh and evocative opus.
Review: Shina Williams' first album from 1979, African Dances, marked the moment where the Nigerian afrobeat artist would team up with 'His African Percussionists', to form one of the most sought-after sounds of the next decade. Taking inspiration from the Master Of Ceremonies, Fela Kuti, this album is just as loose and evocative as the legend's, and perhaps even a little more oriented towards the disco end of the spectrum. "Cunny Jam Wayo" is a classic afrobeat march, with its rolling drums popping off left, right and centre, while "Agboju Logun" offers a softer funk ride, and "Gboro Mi Ro" lifts the soul at the final moments with a truly memorable string of brass instruments and vocals. Cop this, not the L300+ original..!
Review: Hozan Yamamoto is a widely revered figure in Japan, and a true icon of the seventies jazz scene. This album from 1971 is one of this best and a seminal work that effortlessly floats through fusion, soul and big band styles and has been basically impossible to buy in original format. Trust Mr Bongo to come correct with this fully licensed version which features his trademark flute playing and finds the maestro in a soaring, uplifting mood here. Big brass adds weight to his leads while well formed grooves drive the album along. Add in subtle Japanese stylings and it all adds up to a J jazz classic.