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Review: American jazz and gospel singer came up in Chicago and world the local scene - both playing in the clubs, but also as part of an a cappella choir for a number of years. She moved to LA to pursue her dreams in 1962, and the move paid off. She recorded 24 albums and nearly as many EPs right up until the mid nineties. 'Baltimore Oriole' was originally recorded in 1957 but this version is from 1977 . It is a glorious bit of uptempo Afro-Cuban jazz with lush jazz, funk and soul stylings all topped off by a fine vocal.

Review: Echo Chamber Recordings celebrates its first anniversary this month with a new release in the Boogaloo Lessons Series. This latest instalment comes in special hand-numbered orange vinyl 7" limited to 150 copies and features Cheeba's Latin Bros, who deliver exceptional boogaloo tracks as per usual. The A-side, 'One Step Beyond,' boasts infectious rhythms, powerful drum beats and dynamic fills. On the B-side, 'Set Your Soul Free' combines the energetic boogaloo vibe with a touch of soulful tenderness, featuring vibrant percussion and captivating, offbeat chords. This release promises to keep the dance floor moving and showcases the rich, rhythmic textures of the boogaloo sound.

Review: Echi Chamber is reissuing the records is served up late last year because they were all so excellent they sold out. This one is from Cheeba's Latin Bros, a new Latin and boogaloo project from Si Cheeba who is a long-time vet' of the jazz and groove scene that was so big back in the 1990s in Manchester. Limited to just 300 copies, it features one tune spread across two sides of vinyl. 'New York Streets (part 1)' is a raw percussive hustle with big horns and impassioned funk vocals that never let up. Part two is a continuation of that same vibe with just as much raw, direct and percussive goodness to get lost in.

Review: Admittedly, we're as in the dark now about Cheeba's Prestige Allstars as we were when it first dropped last year, but it sold out so has done well. This reissue of the limited 7" release is a steamy blend of Afro and Latin funk. 'Dig This!' (vocal version) delivers a raw, energetic cut with punchy drums and lively James Brown samples, complemented by bold saxophone riffs. On the flip side, the instrumental version retains the groove, albeit slightly stripped back, maintaining the essence of James Brown's mic presence. While details about the band remain elusive, their music speaks volumes, offering a vibrant fusion of sounds that captivate dancefloors.

Review: 'Debes Llorar' is the second of two super limited 7"s being dropped by Dez Andres on the fledgling Future Rootz label this month. Like the other one, this 45 pulls out plenty of the Cuban influences Dez is known for. A-side 'Debes Llorar' is all life-affirming chords that fans of his classic 'New 4 U' will recognise, but stitched over ticking and raw drum beats with a Latin shuffle and Spanish vocals. 'Aqui Estamos' takes things down a notch with a more sunset sound, hip-hop flecked deep house beats and seductive vocal sounds next to gorgeous little acoustic guitar riffs.

Review: UK favourites Dub Pistols are back with the second release in their Version excursion series. The original is a great cover an Edie Brickell classic which brings this outfit's usual blend of ska, 2-tone and dub to the fore. The drums are mid-tempo and have a real swagger while the sub-bass adds serious weight, gentle wood block hits and rim shots pepper the mix and the lovely vocal from Prince Fatty regular Shniece brings seductive and smoky soul. On their 'What I Am Manasseh Dub' things get more laden with echo and reverb and mixing desk effects twist the low ends into perfect stoner territory.

Review: The 7" release of 'Free Ma'n by the Ethiopians and 'Shanty Town' by Soul Brothers on Studio 1 is a must-have classic for reggae lovers. These two heavy hitters are beautiful standout from the early days of the legendary Studio One in Jamaica, and were first related back in 1966. The tunes perfectly embody the raw, soulful sound of Jamaican ska and rocksteady of the era with vocal depth and effortless dub warmth. The Ethiopians are known for their socially conscious lyrics and deliver a powerful performance on 'Free Man', while the Soul Brothers back them with Studio 1's signature mix of jazzy brass, syncopated rhythms and laid-back bass.

Review: Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.

Review: Just a month after dropping their first 7" in the form of a sweet and funky version of classic hip-hop joint from the 90s, Alloy Cuts is back. Once again, Booty Hall is involved this time facing off against Carla Marshall, a known talent from the roots and reggae world. The resulting sounds start with 'All Night Champion', which has raw and dusty breaks, old school stabs and funky drums topped off with a mix of early hip-hop vocals and soulful coos. 'Champinstrumental' on the flip cuts back the vocals to a more direct dance floor instrumental.

Review: Another credit to the edit by one of the true masters of the art here. Danny Krivit adds another worthy resplice to his long running series on Most Excellent Unlimited out of New York City. This one features Rotary Connection's "I Am the Black Gold of the Sun" which was originally released in 1971 and most famously covered by Masters at Work back in 1997 under the Nuyorican Soul moniker. Krivit's edit is respectful as always, simply tightening it up and remastering it on 45 for the first time. Over on the flip, you've got a version of Steve Wonder's 'Pastime Paradise' which just adds a subtle intro that uses the tambourine rhythm to lead into the body of the song - perfect!

Review: 'Everyone Has Got to Go' is a powerful 1976 roots stepper by Jamaican-Canadian singer Prince Robinson aka R. Man Prince. Born in Rockfort, Kingston, Robinson auditioned at Studio One in his teens but didn't record until a decade later. After moving to New York and Canada, he returned to Kingston in 1976 to record two iconic roots anthems at Joe Gibbs studio: this one and the rare 'Funny Dream.' Joined by The Soul Foundation and top session musicians like Sly Dunbar and Robbie Shakespeare, the track's mix by Ernest Hookim and Barnabas features a haunting dub version.

Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.

Review: Since its release in 1973, Ze Roberto's debut single "Lotus 72 D" has become something of an in-demand item amongst collectors of soul-fired Brazilian "MPB". So much so, in fact, that Mr Bongo has licensed it and served up this 7" reissue. In its original A-side form, the track is a carnival-ready slab of samba-soul brilliance rich in razor-sharp horn blasts, rich bass guitar, punchy hand-percussion and twinkling jazz piano solos. Roberto's confident vocals take centre stage, inviting us towards the dancefloor. Over on the flip you'll find a "Fast Version" of Roberto's tribute to 1972 Formula 1 champ Emerson Fittipaldi. This has a slightly more dancefloor-centric tempo, an effect achieved when it was accidentally pitched up for inclusion on a 2001 compilation.