EBO TAYLOR Vinyl & CDs

Review: One of the leading lights of Ghana's vibrant musical ecosystem, Ebo Taylor cast a monumental influence thanks to his deft blend of Afrobeat, jazz and funk, helping define the now-canonical highlife sound. 'Twer Nyame' was released as a three-track single in 1978, although the 16-minute run time of the track makes it much more than a rapid fire hit. Backed with the delicate delights of 'Peace On Earth' and the shuffling funk perfection of 'Atwer Abroba', it's a rare gem of Ghanaian groove from the undisputed king of the sound.

Review: In afrobeat circles, Ghanaian highlife guitarist Ebo Taylor has long been regarded as one of the scene's most undervalued talents. During his golden period during the 1970s, Taylor was responsible for some landmark recordings - not just as an artist, but composer, arranger and producer. This comprehensive set from serial crate-diggers Strut revisits that fertile period, gathering together the best of Taylor's solo, collaborative and production work. For those with a passing interest in afrobeat and highlife, it's near-essential. Highlights come thick and fast, from the strangely spaced-out grooves of "Peace On Earth" and lazy afro jazz-funk of "Ohiana Sua Efir" to the epic American R&B stylings of "Aba Yaa".

Review: A true Ghanaian legend, Taylor's fusions of traditional Ghanaian music with jazz, funk, reggae and soul helped set the blueprint in the early 70s and here's where it all began: 1975, a highly limited debut on Gapophone Records. Reportedly pressed only 500 times due to the country's dictatorship, it's a beautiful introduction. Sweet-tasting highlight with strong reggae references throughout, highlights include the epic 13 minute jam "Maye Omama" and the ebbing, flowing rocksteady soul of "Will You Promise". Still active, teaching and playing at the age of 80, Taylor's music has matured just as well as he has.

Review: At 88, Ghanaian highlife and afrobeat legend Ebo Taylor made his first-ever journey to the US, performing in the Jazz Is Dead concert series. These shows, which sold out across the country, led to an unexpected and electrifying collaboration between Taylor, Adrian Younge, and Ali Shaheed Muhammad. The result is a psychedelic afrobeat album, recorded at Younge's Linear Labs studio, that's bound to thrill fans of both classic West African funk and afrobeat purists. The album channels the raw energy of Ebo's 70s recordings, with swirling horns, fuzzed-out guitars, and the unmistakable polyrhythmic percussion that made Taylor a revolutionary figure in African music. "Collaborating with Ebo Taylor is a bucket-list accomplishment," says Younge, likening the experience to working with another afrobeat pioneer, Fela Kuti. The analog recording style, embracing the gritty textures of 70s Africa, gives this album an authenticity that's impossible to ignore. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' exemplify Taylor's profound lyricism. His reflections on love, spirituality, and gratitude echo his decades-long career, while the ensemble of Ghanaian vocalists adds a spiritual depth that transports listeners back to his prime. Ebo's son, Henry Taylor, also features, proving himself a formidable talent in his own right. This album is not just a nod to the past but a crowning achievement in Taylor's enduring legacy. For connoisseurs of afrobeat, it's a standout moment in both Ebo's catalogue and the growing canon of the Jazz Is Dead series.

Review: Ebo Taylor, a towering figure in highlife and afrobeat, recorded his latest album during his debut US touria milestone that came at the remarkable age of 88. Teaming up with Adrian Younge and Ali Shaheed Muhammad, Taylor crafted a psychedelic journey steeped in 70s-inspired rhythms. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' reflect his spiritual depth and lyrical wisdom, exploring themes of gratitude and divine guidance. Recorded at Linear Labs, the album pulses with fuzzed-out guitars, polyrhythmic percussion, and Taylor's signature vocal style, standing as both a testament to his enduring brilliance and a crown jewel in the Jazz Is Dead series.

Review: At 88, Ebo Taylor, the legendary Ghanaian highlife and Afrobeat pioneer, made his U.S. debut at the Jazz Is Dead concert series, captivating audiences nationwide. This historic visit coincided with the recording of Ebo Taylor JID022, a groundbreaking psychedelic afrobeat album produced with Adrian Younge and Ali Shaheed Muhammad. Younge expressed the significance of this collaboration, likening it to working with Fela Kuti, emphasising the dream of capturing Ebo's essence on analog tape. The album features swirling horns, gritty guitars and polyrhythmic percussion reminiscent of Taylor's seminal 1970s work, alongside spiritually rich backing vocals that evoke a sense of nostalgia. Ebo's heartfelt lyrics, exploring themes of love, peace and spirituality, resonate with nearly a century of wisdom. Tracks like 'Beye Bu, Beye Ba' and 'Kusi Na Sibo' impart life lessons on gratitude and divine provision, solidifying Ebo Taylor JID022 as an essential addition to his storied catalogue and a crown jewel for Jazz Is Dead. This release coincides with his eagerly anticipated tour across the Americas, showcasing the enduring legacy of a true musical icon.

Review: Comet's "Disco Highlife" re-edit series continues with an EP that draws together original tracks and reworks from two of the Highlife scene's biggest stars: Ebo Taylor and Pat Thomas. The latter can be found on side A, with the tipsy, synth-driven highlife-boogie fusion of "Enye Woa". This is in turn re-edited by LeonxLeon, who has not only extended the original track but also added some superb new spacey synth solos. Turn to the flip for Ebo Taylor's richly percussive, Hammond-laden disco-highlife bubbler "Atwer Abroba" and Leo Nanjo's brilliant remix, which re-imagines the track as a rubbery chunk of Highlife-house drenched in dub delays.