Soul Jazz レコード& CD

Review: Soul Jazz Records promise this is a one off and strictly limited pressing of Alien Starr's 'World Of Ecstasy.' It is a faithful reproduction of the original in terms of art and sound and has been restored from the label after they included it on their excellent recent Space Funk 2 - Afro-Futurist Electro Funk In Space 1976-84 compilation. tUSA in 1985 featuring big slap bass energy, hand claps, drum funk and electro boogie bass. .

Review: Here's a killer reissue from the Soul Jazz archives which is finally getting a repress. It's hardly surprising when the reissue becomes as sought after as the holy grail original jam from 1970, a sublime instrumental anthem of soulful, skanking perfection with Cedric Im Brooks flexing his sax in glorious style over a beautifully rough n' ready rhythm. It was shortly after this recording was laid down Brooks went on to form The Mystic Revelation of Rastafari with Count Ossie, which tells you all you need to know about the heritage we're dealing with here.

Review: Brown Sugar, formed in 1976 and made up of teenage soul darlings Pauline Catlin, Caron Wheeler and Carol Simms, recorded their breakout lovers' rock single 'Black Pride' in a period when racial tension in the UK was at its most rife. Brought to Denis Bovell's time-honoured Lovers Rock label, it was one of the many reggae releases that defined the eponymous substyle. Now a black 12" repress comes to 1000 lucky first-come buyers.

Review: Brown Sugar are pioneers of the British reggae scene, particularly within the lover's rock niche. The group's fine discography has been honed in on by the great folk at Soul Jazz who put together a superb compilation I'm In Love With A Dreadlocks back in 2018. It focused on the booth of the Lovers Rock scene in the late 70s and now the title track from it gets pressed up to its own tidy 7". The super deep and luscious original is backed with a fine instrumental to remind us just how pivotal this group really was.

Review: Soul Jazz Records' new must-have compilation "Kaleidoscope" does a great job in celebrating the vibrancy of the UK's fast-growing contemporary jazz scene. For some reason the vinyl version of the release omits the two tracks featured here, hence the label offering them up on a limited-edition 12" single that they say will never be repressed or reissued. The A-side features Sons of Kemet member (and renowned tubist/trombonist) Theon Cross's "Candace of Meroe", a bustling affair that riffs on the polyrhythmic Afrobeat sound of Tony Allen and Fela Kuti whilst taking it in a decidedly jazzier new direction. Over on the flip psychedelically inclined duo Pokus delivers "Pokus 1", a wonderfully low-slung and spaced-out affair that adds mind-altering, mutilated electric piano motifs to a deliciously weighty, low-slung groove.

Review: Rekid is the alter-ego of Matt Edwards. With numerous recording projects (Rekid, Radio Slave, Quiet Village, Mathew E, Sea Devils) Matt Edwards’ music breaks down the traditional barriers of dance music and exposes influences from Walter Gibbons to Andy Weatherall to DJ Harvey to create a truly unique sound. "85 Space/Retrospective" are two more amazing slabs of tech/disco/slowed down house, his trademark sound as a taster for his forthcoming album "Made In Menorca".

Review: Studio One have put out plenty of big tunes and this is the latest to get a big reissue on a super loud-cut 12" single for extra devastating impact. It's a well-known classic every self-respecting reggae fan should know and blows up any party, especially when tweaked like these two versions. They were originally produced by Studio One bossman Coxsone Dodd and have been covered by The Clash as well as sampled by The Fugees and hip hop MC KRS One. The snaking lead synth, the rumbling drums and classic ska trumpet are all straight up irresistible.

Review: Yet another Studio One classic. Willie Williams was one of many artists to feature on Soul Jazz's 'Studio One Soul' series, which documented the throughline between reggae and soul in Jamaica. 'No One Can Stop Us Now' is a dreamy and wall-of-soundy slice of goodness from the mournful crooner, documenting the Jamaican dub vocalist's master plan. The song is a paean for anti-populist motivation - despite the naysayers who sit and criticise, no-one's gonna stop us now.