Review: Originally pressed (on a limited run) in 2013, LA Latin funk troupe Boogaloo Assassins have reissued these two spellbinding cover versions again due to public demand. Still on a highly limited run, both cuts need to be in your collection: Dawn Penn's "No No No" gets a strict samba switch with lavish percussion and consistent vocal harmonies throughout while Sonny Henry's "Evil Ways" (best known from its Santana cover) gets the dreamy instrumental treatment where the horns and glocks do the narrating over a tight bed of wood blocks, shakers and liquid Rhodes. Killer stuff and Juno is one of the few stores outside of USA which is carrying the 45. Don't Sleep !
Review: During the 1970s, Sanifu Al Hall Jr decided to form a group dedicated to blending jazz, soul and cutting-edge electronic sounds. The brilliantly named Cosmos Dwellerz Arkestra never released any music during the period - not commercially, at least - with this fascinating 12" marking their belated debut. "Love Thoughts", which was committed to tape in 1977, is undoubtedly intergalactic, offering a spiritually-minded mix of spiraling jazz-funk synths, woozy horn solos, stoned drums and toaster-hot bass. On the flip you'll find an interesting curio: an extended 1967 radio interview with Sanifu Al Hall Jr in which he discusses his musical story and approach to life.
Review: Ahmad Jamal track been sampled and reworked by Hip Hop greats
Primo - Gang Starr Solilquay of Chaos to Black Moon -Black Smif-mWessun- Pete Rock flipped on Something Funky release.
Richard Evans bass player and arranger blazes Jazz Funk intro, really sets it off from Original Foster Sylvers version very hot tune !!!
You're Gonna Need ME Dionne Warwick
1973 Monster of Pysch Soul tune
Written by Holland - Dozier- Holland Studios arranged by Mckinley Jackson you can hear that RAW DETROIT FUZZ FUNK Sound.
Dilla aka Jay Dee brought to the light of day after he flipped it on his Famous Donuts album (STOP) back in 2006 Well that history we already know!
Wu-Tang's Clap from THE W album (2000) as bonus track!
Review: The colourful obi strip astride the cover of this audiophile reissue boasts that Imani's "Out of The Blue" album is "the ultimate private press jazz holy grail". While that claim is debatable, copies of the Gilles Peterson championed 1983 edition, which the San Francisco based band pressed up themselves, have been known to change hands for four-figure sums. Musically, the four tracks are breezy, sunny and summery. Opener "Just Another Love Song" sets the tone, with soulful group vocals and jazz solos rising above a warm groove, while "Somebody's Love" is a slow jam smothered in spacey synthesizers. "Byrd's House" is a jazz-funk dancefloor number - this time blessed with extended, eyes-closed guitar and piano solos - while "Friendship Cover Charge" is a stomping peak-time workout that should send dancers spinning.
Review: Ahead of a fresh album due later in the year, Nat Birchall fires up his quartet and returns to the Jazz45 series with a second seven-inch salvo for the Jazzman offshoot. A-side "Obeah Man" is wonderfully sweet, soulful and breezy, with Birchall and company layering jaunty spiritual jazz style piano riffs and snaking solos (think Clarinet, sax, trumpet etc) over a warm, loose and bustling groove. They continue on a similar vein on the slightly bolder flipside cut "Seeking", where bandmembers trade solos atop a classic jazz style bassline and fizzing drums. That forthcoming album should be killer.
Review: Names You Can Trust snapped up Peruvian salsa band Sabor y Control in 2017 after hearing their self-released debut album "La Contra Violencia". Here the Bruno Macher-helmed band returns with their first single for the esteemed Brooklyn imprint in nigh on two years. "Dispara Ya" was arguably worth the wait, though. Summery, effervescent and suitably percussive, it's a killer slab of dancefloor salsa rich in lilting group vocals, Tito Puente style rhythms and horns straight out of a 1960s boogaloo record. Flipside "Territorio Y Honor", whose horn arrangements are a little bit more complex, is equally as impressive.
Review: Most experts agree that Archie Shepp's 1972 album "Attica Blues" is one of the finest soul-jazz LPs ever made - a politically-charged affair that just gets better with every listen. This tidy seven-inch single from Mr Bongo offers up two of the album's standout moments. On the A-side you'll find the title track, a swirling, down-low mixture of belted-out female chorus vocals, surging orchestration, Blaxploitation style bottom end and an impassioned lead vocal from Henry Hull. Flipside cut "Quiet Dawn" sees Waheeda Massey take lead vocals over a more obviously jazz-centric backing track rich in wild sax solos from the effervescent Shepp. Like the A-side, it's simply essential.
Review: Formed in 2017, the Sokratis Votskos Quartet is fast becoming one of the leading lights in Greek jazz. Later in the year they'll be releasing a brand new album on Jazzman, from which this tasty double A-side is taken. "Almopian Etude" is a veritable humid summer breeze of a track: a loose and languid fusion of spiritual piano motifs, languid double bass, bustling drums and alternately snaking and intoxicating horn solos. B-side "Sevenates" is an altogether funkier proposition, with cyclical saxophone motifs increasing in intensity over a jumpy, piano-driven rhythm track. It's not exactly jazz-funk, but it's certainly travelling in that direction. Either way, it's ace.
Review: The buzz around this sophomore set from Bahrandi-born British jazz musician Yazz Ahmed has been palpable. One critic even described it as a "modern jazz masterpiece", and it's easy to see why. While rooted in numerous now traditional jazz styles, it also mines the jauntiness of jazz-funk and draws huge influence from Arabic musical culture. As a result, La Saboteuse is packed full of intoxicating, beautifully performed highlights. Check, for example, the gently foreboding movements of the trumpet and clarinet-laden "Jamil Jamal", the trippy ambient electronica/jazz fusion of "The Space Between The Fish and the Moon" and the skittish, vibraphone-heavy epic that is "Organ Eternal". Simply essential.
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".
Review: Alice Clark's 1972 debut album - her sole full-length outing - has long been considered one of the great, unheralded soul albums, with collectors clamouring to source copies of the hard-to-find set. As this reissue proves, it remains a fantastic album. Clark's vocals are superb throughout, soaring above gospel-influenced backing tracks rich in Jimmy Smith style organs, hazy horns and a rhythm section that strikes a perfect balance between groovy looseness and low-down tightness. The set's plentiful highlights including soaring torch song "Don't Wonder Why", the jazzy wooziness of "Maybe This Time", the surprisingly funky (but still laidback and groovy) "Charms Of The Arms Of Love" and impressive opener "I Keep It Hid".