Review: Thanks to their superb collaborative album "Atemporal", many are now fully aware of the joint musical explorations of French band Cotonete and Brazilian singer Di Melo. That wasn't the case in early summer 2018 when their first single, "A.E.I.O.U", landed in stores. The record became a sleeper hit, was later remixed by Dimitri From Paris and is now given the re-press treatment. The original version (side A) is an inspired fusion of warm, breezy Brazilian disco and jaunty jazz-funk with one of the strongest, catchiest choruses we've heard in years. It's utterly ace all told, as is the more spacey and synth-laden B-side "Dub" mix. If you don't already own a copy, do yourself a favour and grab one of these.
Review: For Brazilian music collectors, the two 1970s albums by sadly departed vocalist and multi-instrumentalist Ana Mazzotti have long been must-have sets. Listening to Far Out's new reissue of the second of those, 1977's self-titled "Ana Mazzotti", it's easy to see why. The album is warm, woozy and groovy, joining the dots between slick and summery samba-jazz, synthesizer-laden bossa-nova, Azymuth style jazz-funk/fusion (see the delicious and laidback "Sou") and the kind of atmospheric, otherworldly deepness rarely heard in Brazilian popular music during that period. Highlights are plentiful throughout, with "Cordao", the spacey and up-tempo "Eta Samba Bom" and languid "Bairro Negro" among the many standout tracks.
Review: DJ Firmeza's 2015 debut, "Alma Do Meu Pai", was a gloriously bass-heavy, multi-cultural melting pot of 21st century dancefloor sounds that perfectly encapsulated the Lisbon scene from which he emerged. This belated sequel is equally as thrilling, with bombastic opener "Avan" setting the tone via heavy, Kuduro-influenced drums, layered tribal percussion hits, clonking melodies and urgent vocals. "Intenso" is if anything even sweatier and more percussively punchy, while "RRRRRR" is a thrusting chunk of wild tribal techno rich in dense drums and voodoo vocal yelps. As for "25", its another off-kilter drum workout just crying out for peak-time plays.
Review: When it comes to offering up albums of carnival-ready Latin-soul, it could be argued that Gabriele Poso is in a league of his own. Certainly, his 2018 set for BBE, "Awakening" was superb, and this follow-up on Soundway is every bit as good. The South American influences - think samba, Azymuth sytle jazz-funk, Brazilian boogie, MPB etc -catch the ear throughout, alongside his extensive use of warming synthesizers, sun-kissed electronics and his own voice, which seems to get richer and more seductive with each successive release. The quality threshold remains so high throughout that it's barely worth picking out highlights: it's literally "all good", and you really should check out the album when you get a chance.
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.
Review: From 1986-1991, Uruguayan vocalist and musician Mariana Ingold was a pivotal figure in the evolution of the indigenous Candombe rhythms of her homeland. She took the sound in new directions with artists like Eduardo Mateo, Jaime Roos, and Hugo Fattoruso across a series of albums that made use of the newly emerging synth technologies of the time. The result is a folk-y album of found sounds, acoustic guitars and majestic harmonies that are all tied together with Ingold's own delicate, elegant vocals. This collection draws her best work into one beautiful anthology that has upbeat numbers like "Trasnoche" next to soothing lullabies such as the heavenly "Tiempo Leve".
Brazzos Et OK Jazz - "Cha Cha Cha Del Zombo" (3:08)
Brazzos Et OK Jazz - "Tcha Tcha Tcha Mi Amour" (3:12)
Essous Et Rock-A-Mambo - "Baila" (2:36)
Edo Et OK Jazz - "Kumavula Tubakueto" (3:12)
Edo Et OK Jazz - "Sois Sage Amour" (3:12)
Nino & Rock-a-Mambo - "Allegria" (2:49)
Ritmo Vedette Jazz - "Ritmo Vedette Jazz" (2:43)
Franco Et OK Jazz - "Tokeyi Kobina Calypso" (3:17)
Essous Et Orchestre Bantou - "Luiza" (2:45)
Beguen Band - "Yo Me Moero" (2:52)
African Jazz - "Vive Patrice Lumumba" (3:05)
Dewayon & Conga Jazz - "Na Lingi Na Ngai Kubala Te" (2:49)
Kongo Jazz - "La Belle Lucie Botayi" (2:44)
Grupo OK Jazz - "Grupo OK Jazz" (3:14)
Rock-A-Mambo - "Cherie Nini" (2:46)
African Jazz - "Flowers Of Luckness" (2:45)
African Jazz - "Merengue Nico" (2:42)
Rock-A-Mambo - "Les Voyours" (2:42)
Wendo Kolosoy With Beguen Band - "Marie Louise" (3:08)
African Jazz - "Ngonga Ebeti Independance" (2:30)
African Jazz - "MNC Uhuru" (3:02)
Review: Soul Jazz's impeccable curatorial team turn their focus to the Revolutionary and Evolutionary Sounds from the Two Congos 1955-62 on this comprehensive new collection. In these years leading up to independence, there was an explosion of musical styles that are charted here and include jazz and Latin influences, Cuban rhythms, Afro drums and Congolese rumba stylings that transport you away from this dreary autumn and to much warmer climes. This package also includes a 50-page booklet detailing extensive texts about the musical happenings of the period and stunning images by Congolese nightlife photographer Jean Depara.
Review: "Der Say Ah" has long been a banger on dance floors tuned into international sounds. It's the sort of bouncy afrobeat and sax-laced classic that has been fetching huge amounts online. DJs like Gilles Peterson and Nightmare on Wax have been playing it for yonks and now, after many years of it being out of print, it is back courtesy of Push The Fader. The Akoya Re-Rub mix here was mixed by Ben Kane who worked on D'Angelo's Black Messiah, so this sounds beyond good. The 7" version comes from DJ Spinna with extra keys from Ticklah, psyched out bass and extra dub feelings.
Ebo Taylor - "Peace On Earth" (Monsieur Scott remix) (4:55)
Pat Thomas - "We Are Coming Home" (5:51)
Pat Thomas - "We Are Coming Home" (2 Paris Septembre re-edit) (4:51)
Review: Comet's ongoing "Highlife Re-Edit" series is perfect for those who want a little contemporary pizzazz alongside their Afro-disco grooves and dancefloor-ready highlife classics. Like its predecessor, the series' latest volume boasts cuts from highlife legends Ebo Taylor and Pat Thomas. The former's punchy, breezy and trumpet-laden highlife-jazz cut "Peace On Earth" can be found on side A, alongside a dreamy Monsieur Scott version that drags the track further towards leisurely jazz-house territory. The Pat Thomas track showcased on side B is "We Are Coming Home", a righteous highlife/funk fusion effort rich in dense percussion and eyes-closed rock guitar solos. The accompanying 2 Paris Septembre Re-Edit brilliantly re-invents it as a bustling broken beat affair laden in shimmering synths and squelchy electronic bass.
Review: It makes sense that Names You Can Trust would be fans of Conjunto Papa Upa - after all, the band's first two seven-inch singles (released in 2013 and 2015 respectively) offered a suitably psychedelic and soulful fusion of African, Caribbean and South America sounds fully in keeping with the Brooklyn label's open-minded ethos. This "45" is a teaser of sorts, offering as it does two cuts destined for the Amsterdam-based outfit's long promised, forthcoming debut album. A-side "El Secreto Del Metalero" is particularly potent, offering a suitably psychedelic, heavily electronic 21st century take on Cumbia full of weirdo electronics, twisted vocals, rumbling sub-bass and colourful synth lines. In contrast, "Chicarron Puelo" is a little more traditional-sounding, delivering a formidably fuzzy fusion of dancefloor-focused Latin rhythms and 1960s style psychedelia.
Review: The Fantastic Voyage label kicks off with a summery joint from RFX, otherwise known as Pharmacy Records mainstay Romain FX, straight out of Hong Kong. There's an undeniable African lilt to these tracks, shot through with a classic 90s house twist - just check the infectious bump of "Indaba Kabani". "Gambian Neptune" has a snappier feel, channeling the vibe of 80s extended dubs with its strident drum section and bombastic atmosphere. "Nigerian Charon" has an interesting mixture of vibes going on, part Art of Noise mash up and part peak time synth sizzler, while "Sudanese Xena" heads into the heat of night, conjuring up a seductive, swirling mood to get truly lost in.
Review: Recorded in 1983 and '84 respectively, "Feelings" and "Sidiku Buari & His Jam Busters" were the last albums recorded by Sidiku Buari, a New York based musician who turned to music after a promising career as an athlete in his native Ghana. He initially rose to prominence making highlife and afro-disco, but by the early '80s Sidiku was in full-on Afro-boogie and electrofunk mode, offering up tracks rich in colourful synthesizer lines, punchy electronic drums and righteous vocals in his native tongue. There's much to set the pulse racing across both slabs of wax, from the squelchy, club-ready brilliance of "Music" and "Anokwar (Truth)", to the slap bass propelled flex of "Minsumobo", dub disco grooves of "Karambani" and flute-laden breeziness of "Rhythm Of Africa".
Review: Mukatsuku struck gold again on this latest first time on a "45" issue. It boasts a couple of lesser-known jazz-funk fusion jams which originally featured on Argentine musician Jorge Navarro's 1977 album "Navarro Con Polenta", an LP that has never been issued outside of South America. A-side "Funk Yourself" is a bustling, high-octane jazz-funk Hammond licks and spiralling horns jumping above a Blaxploitation style backing track. "Repartamos El Funky" is a more laid back but no less musically intricate affair, with a variety of high-grade electric piano and guitar solos riding seemingly endless jazz style drum solos and rubbery bass. Juno hand-numbered copies come in exclusive sleeves and this 45 not be repressed. DJ Support comes from Ge-ology, Dom Servini, DJ Koco (Japan), DJ Food,The Allergies,45LIVE.net ,Dr Bob Jones,Rob Luis, Smoov and more
Review: When it came to putting together their first compilation, German label Harmonie Exotic turned to Balearic scene mainstay Jose Manuel. His idea was simple: to gather together a range of mostly obscure experimental ambient tracks made between 1982 and '84, all of which possess equal amounts of "magic" and "mysterious character". The resultant set is, of course, a bit of an eye-opener - a genuine voyage of discovery that drifts between the low-slung, dub disco influenced headiness of D-Day's "Sweet Sultan", the drowsy new age purity of Vangelis Katsoulis, the glistening Balearic pop of Human Software's "Soft Sequence", the sludgy Arabic new wave oddness of International Noise Orchestra and the unique combination of Middle Eastern drums and next-level electronics that is Manuel Wandji's "Pourquoi Pas!".
Review: Far Out has decided to pay tribute to one of Brazilian music's most overlooked - and, let's face it, obscure - talents, Ana Mazzotti. She recorded just two albums in the 1970s before passing away from cancer in her early 30s a few years later. Both of those album have become sought-after, particularly 1974 debut "Ninguem Vai Me Segurar". This first ever reissue proves why. Warm, breezy and effortlessly soulful, it sees Mazzotti and her backing band sashay between languid samba-jazz, intergalactic bossa, soft-focus Brazilian soul and the kind of attractive jazz-funk/fusion that would later become the hallmark of Azymuth (not much of a surprise since two of that band's founder members were part of Mazzotti's backing band).