BBE Vinyl & CDs

Review: BBE, known for its groundbreaking J-Jazz and J-Jazz Masterclass series, now shines a light on an inerasable gem in Japan's national discography: the debut LP Rainbow Love by Orquesta Del Sol, the country's first authentic salsa band. Salsa's roots in Japan trace back to the post-WWII era, with groups like Tokyo Cuban Boys, but it was the 1977 Fania All-Stars tour that initiated wider interest. Percussionist Masahito "Pecker" Hashida, influenced by New York's salsa scene, formed Orquesta Del Sol on his return. Their debut, put out in 1981, blends compositions in Japanese, Spanish, and English, while working in a cover of Noro Morales' 'Rumbambola'. Produced by Shuichi "Ponta" Murakami, the album's bold sound was a product of Japan's studio scene and the band's connection to the Nuyorican salsa style. This reissue includes seven bonus tracks from the band's later years, remastered for a new generation.

Review: The story of Teddy Pendergrass is a great but rather tragic one. The legendary vocalist had a truly great voice that is well known in the soul world but later in life was confined to a wheelchair after a car crash, although his career continued until his retirement in 2007. John Morales is an equally legendary producer who single-handedly invented the idea of the remix. It is he who has assembled this collection of some of Teddy's greatest moments under the fitting title of The Voice. All his classics are here from 'Don't Leave Me This Way' to 'If You Don't Know Me By Now.'

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


From The Fire is a superb new album from Audrey Powne that is about as accomplished as any debut could be. The young auteur herself has composed all nine cuts, wrote all the lyrics, plays all the piano, organ and Rhodes, does all the singing, arranged all the strings and produced everything herself as she set out to have complete creative control. It is a rich and rewarding listen with some soaring solos and meticulously crafted grooves that have already won her high praise from those in the know such as Gilles Peterson.

Review: From The Fire is a superb new album from Audrey Powne that is about as accomplished as any debut could be. The young auteur herself has composed all nine cuts, wrote all the lyrics, plays all the piano, organ and Rhodes, does all the singing, arranged all the strings and produced everything herself as she set out to have complete creative control. It is a rich and rewarding listen with some soaring solos and meticulously crafted grooves that have already won her high praise from those in the know such as Gilles Peterson.

Review: On the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ and all-out living legend Rahaan collaborates with an equally talented group of musicians: Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, the outfit known as The Ones create an extended three-track EP of transcendent proportions, drawing on the avaricious world-passion for music and life heard in the joyous chasms between psychedelia, Afrobeat and disco. Bridging these precipices by way of a vast, suspensory dancefloor held together by firmly mixable kick drums serving as rivets, Rahaan produces and mixes a viscerally eye-popping set of devotionals here. From the impassioned beatitudes and thanksgivings of 'We Are The Ones', to the desirous chic-funk drum circle envisaged on 'Fire' and the eternal gospel-rock-tinged disco-soul ablution 'Forever' (a special favourite of ours), this is a holy chrism in record form.

Review: Having re-released Rim Kwaku's long lost Rim Arrives album, BBE follow it up with more dusty disco treasures from the Ghanaian hit maker's repertoire. From the blistering horns and thundering drum rolls of the near-nine-minute romp "Shine The Ladies" right the way through the looser, more Afrobeat-focussed "Peace Of Mind" by way of the emphatic Stevie Wonder-style showmanship of "I'm A Songwriter" it's a collection that still sparkles with soul 30 years after they were recorded. If you're unaware of Rim's story, you'd be wise to check it; from Quincy Jones endorsements to homelessness in the space of 24 hours, Rim's tales are as serious as his music is funky.

Review: It would be fair to say that the latest edition in BBE's 'J-Jazz Masterclass' series of reissues is exceedingly rare. In fact, when it first appeared on Smile Records in 1976, only 100 copies of Hideto Saski-Toshiyuki Sekine Quartet's "Stop Over" were ever produced. The album's rarity is impressive, but it's the quality of the all-acoustic set of hard-bop workouts that makes it an essential purchase. As you might expect, there's plenty to set the pulse racing throughout, from the high-octane rush of opener "Carole's Garden", where dizzying piano solos catch the ear, to the similarly hectic and arguably even more rush-inducing "Stop Over" (a ten minute cut of epic proportions), via the sweet, sparse and contemplative "Soultrane".

Review: Japanese-British avant-jazz greatness notably graced the singular hall of London's Cafe OTO in September 2019; drummer Takeo Moriyama and pianist Masahiko Satoh performed for the first time at the esteemed experimental music venue as part of Peter Brotzmann's four-day festival at the venue, and saw their peers, bassist Leon Brichard and tenor saxophonist Idris Rahman, join them for several pieces. While Satoh and Moriyama both formed part of the blistering Yosuke Yamashita Trio - whose output helped spur a critical period in the development of free and modern jazz in Japan - Rahman and Brichard functioned, for a moment, as their contemporary British doppelgangers as splinter members of one of the UK's most notable experimental jazz groups, Ill Considered. The result is a blisteringly free, metrically rule-flouting live performance born of a real confluence of greats.

Review: Isao Suzuki produced Approach in 1986. It manages to be both stylish and sophisticated as well as experimental and brave in equal measure as it pairs the serene with the thunderous across six superb songs. For that reason, it is next in the BBE Music J Jazz Masterclass Series. The young and multi-talented Isao Suzuki was joined by drummer Masahiko Togashi, keys man Hideo Ichikawa and guitarist Akira Shiomoto to cook up these contemporary jazz cuts with bendy bass, intriguing melodies and intricate percussion all taking you deep into their own new world.

Review: The latest volume in BBE's J Jazz Masterclass series is something of a stone-cold classic: then young Japanese pianist Makoto Terashita's 1983 album-length collaboration with legendary tenor saxophonist Harold Land. Somewhat surprisingly, this is the first time that the sought-after set has been reissued since, making it something of a must-have for serious jazz fans. Both players are clearly audible throughout the LP, with the accompanying bassist and drummer generally kept low in the mix. It's an approach that pays dividends from start to finish, with highlights including the poignant and picturesque "Dear Friends", the epic dancefloor flex of "Dragon Dance" and the raucous, high-octane thrills of "Crossing".

Review: BBE's second trawl through late 20th century deep Japanese jazz is every bit as eye opening and essential as its predecessor, which caused many hearts to flutter when it was released 18 months ago. From start to finish, we're treated to a righteous range of largely little-known tunes, from the spiraling, sun-kissed spirituality of Makoto Terashita Meets Harold Land's epic "Dragon Dance", and the funk-fuelled dancefloor jazz brilliance of Mabumi Yamaguchi Quartet's "Distant Thunder", to the smooth, snaking seductiveness of George Kawaguchi Big Four's "Vietnam" and the synthesizer jazz-funk insanity of Electro Keyboard Orchestra's "Mother Of The Future". A superb selection of genuinely off-kilter and life affirming Japanese gems that should be an essential purchase for both serious and casual jazz fans.

Review: The Jazz Room is a hotly curated selectors' V/A compiled by jazz expert and BBE label owner Paul Murphy. Following the success of the original comp first released in 2019, this one comes up after a full four years' worth of curating and mulling, and aims to represent the full range of both classic and contemporary jazz sounds, from New Orleans to Latin jazz, in quick succession. Consisting of contemporary jazz versions of the likes of Fela Kuti, Raul Monsalve and, for some reason, The Human League, said contributions by the likes of Cruisic and Clare Fischer aim to trace the - yes, the - comprehensive throughline of jazz from past to present, all while refusing to abstain from BBE's trademark eclecticism. Highlights include 'Rebel No. 23' and Fast 3's Hammond-organ-injected 'Don't You Want Me'. Most importantly, no track goes without a driving, bright-bursting mood of energy.

Review: Once Again We Are The Children Of The Sun is a compilation of rare and obscure psychedelic rock, folk and jazz from all over the world. While little thematic centrality is present, the common thread between these selections is that they can surely be classified as wheat, not chaff, thanks to the curatorial power of one Paul Hillery. Artists both known and forgotten, such as Forest, Will & James Ragar, Greg Foat Group and Orion all hitch a ride on Helios' sonic chariot, delivering an intense psych-folk-funk album of much experimentation and weird synthwork.

Review: If Music presents: You Need This! An Introduction to the Handson Family from the legends at BBE is a must-have double album that highlights the rich heritage of Black music, not that we really needed reminding of course. Compiled by London DJ duo the Handson Family, this collection features tracks from plenty of key artists such as Emanative, Ty, Cecilia Stalin, and Xantone Blacq and across all 14 songs, the diverse sounds and styles of recent Black music are laid bare and offer an educational experience in Black music genres while also capturing the essence of the duo's influential DJ sets and radio shows.

Review: Mark GV Taylor and George Arthur are the deep diggers behind this new compilation on BBE and it takes its same from their own Reference Point events which pop up all over the place. They are known for travelling far and wide through various genres to explore lesser-known niches and that's what they do here with a broad and brilliant mix from across the ages. Across 15 cuts they serve up jazzy vocals numbers, 1970's Brazilian jazz and everything from soul, jazz, fusion, electronica, yacht rock and plenty more. Many of the tunes are hard to find in their original form, but some are much cheaper but totally less well-known - until now.

Review: Prepare yourself for a wry chuckle, as we impart the fact that the compilation you see hyperlinked before you was not at all prepackaged, with work cut out for its curators. Rather, it came from the source, having first manifested as a pile of Ghanaian highlife LPs buried at the bottom of DJ Jerry Frempong's wife's garden. Frempong is the son of one of one of the most prominent former Ghanaian-British label owners, Anthony Roberts Frempong of Asona Records, whose founding movements in the South East London district of Peckham proved highly popular helping disseminate highlife music in the English capital. BBE Music owner Pete Adarkwah caught wind of the serendipitous discovery and approached Jerry to discuss the reissue of this historic catalogue, which you hear here. The sweetest of early and untrodden highlife highlights are heard here, including sparklers by Kantata, Jewel Ackah, Sam Yeboah, Mr Cee and even Thomas Frempong himself.

Review: BBE has been shining a deserving light on Japanese jazz for a while now through this on going J Jazz: Deep Modern Jazz From Japan series. This latest triple bumper pack is sub titled The Nippon Columbia label 1968 - 1981 and is again packed with next level sounds from a range of key players. Many of them will be familiar to those with a basic knowledge of jazz but plenty won't. The likes of Nobuo Hara & His Sharps & Flats, Hozan Yamamoto go wild on 'Chakkiri-Bushi,' Takashi Mizuhashi joins forces with seminal American talent Herbie Hancock on 'Samba De Negrito' and Hiromasa Suzuki, Jiro Inagaki & His Big Soul Media make a lasting impression with the hard bop of 'By The Red Stream.'

Review: After the release of the first volume of music selected by Klinkhamer Record shop owner Michel Veenstra in 2022, the anticipation and expectation amongst the heads for a follow up compilation has been building. Now BBE Music can announce that Klinkhamer Volume 2's collection of music from the 70's and 80's is ready to add to the series. An eclectic selection of tracks which crosses genres and styles, Michel has once again curated a compilation album of music that will appeal to the heads, the collectors and the lovers of the groove. A melange of folk, Jazz and funk for the headphones and the dancefloor, Klinkhamer juxtaposes instrumentals with vocal tracks in English, Swedish and French over a double vinyl release and a track order that creates as much a journey as a flow. Michel, alongside his brother Stephen, is the owner of the Klinkhamer Record shop in Groningen and a regular trader at the globally known Utrecht Record Fair since the 1990s. It is this wealth of experience, a nose for a gem and an ear for a tune that that has fed into a compilation that has music lover stamped throughout its eight tracks, all remastered from original vinyl. Coming as a double vinyl and digital release, Klinkhamer Volume 2 is a Godfather II level of follow-up to the previous compilation in the series and really is a must for all true music collectors, vinyl junkies and lovers of tunes curated for the mind, the heart and the feet.

Review: We're prepared to argue with anyone on this, but Universal Robot Band's "Barely Breaking Even" is one of the best boogie-era disco records ever made. Its title was also the inspiration for the name of BBE Records, so it seems fitting that the label's 500th release is an all-star re-recording that brings together NYC house hero Louie Vega and original creators Leroy Burgess and Patrick Adams. Vega delivers vocal and instrumental versions of two distinctive passes: a slick, smooth, soulful and string-laden "Boogie Mix" rich in warm electronics and subtle nods towards the early '80s original, and a rolling "NYC House Remix" full of twinkling Fender Rhodes solos and atmospheric chords. As you'd expect, Burgess' re-recorded vocal is superb.

Review: Two years ago, Volcov set our pulses racing with From The Archive, a superb selection of killer cuts from the depth of his notoriously impressive record collection. Volume 2 is equally as inspired, though the focus is a little different. Whereas Volcov previously chose to concentrate on soul, funk and disco, this edition is far more widescreen in scope. So, we get soaring soul-jazz bliss (Collective Peace's "Let The Music Play"), head-nodding hip-hop soul (Eric Lau remixing Ruth Koleva), futurist jazz-funk (Ron Trent's wild but brilliant "Ori Space"), soul-fired broken beat (Volcov's own re-edit of Xantone Blacq's vintage remix of Intuit's "Planet Birth"), impeccable soundscape jazz ("Lawra" by Tony Williams) and much more besides.

Review:  Waaju & Majid Bekkas's Alouane exemplifies the power of collaboration during challenging times. As bringing overseas artists to the UK grows increasingly difficult, this record bridges cultural and generational gaps while capturing the vibrant energy of live collaboration post-Covid-19. Conceived by Waaju bandleader Ben Brown, the album features his expansive arrangements of traditional Gnawa songs and blends Bekkas' musical prowess with Waaju's signature grooves and trippy delays. Bekkas, a key figure in Moroccan Gnawa music, had never collaborated with a UK band until this project. Alouane, meaning "colours" in Arabic, reflects the seven integral colours of Gnawa music, each invoking different spirits.

Review: The J Jazz Masterclass Series from BBE Music has already served up some real treasure and now as it lands on its 19th release, it serves up some more. This one, Mal Waldron's Reminicent Suite, is a sizeable collab between two giants of jazz, In coming together they cooked up a sublime album alongside a band made up of the very best Japanese jazz musicians of their time. American pianist Mal Waldron and Japanese trumpeter Terumasa Hino released this album in 1973 on the Victor label and is one of several albums of the time that were Japan-only releases. Now it gets a vinyl pressing in the West for the first time ever so do not sleep.

Review: Compared by some to the likes of Crosby, Stills and Nash or Richie Havens, brothers Will and James Ragar present rich, calming and subtly seductive folk-soul that could almost belong in a bygone era. If it didn't sound so utterly timeless - a great example of why unplugged sounds seem to have such a long half-life. As a record, this is a great accompaniment to Will & James Ragar's startling, stop-you-dead-with-serenity debut album, One, which first landed in 1980. But The Acoustic Album takes that tried and true blueprint and then delves deeper into the soothing-yet-aching, sublimely heartbreaking and life affirming formula. 16 tracks written between the late-1970s and early-1990s, recorded in 2016 in one seamless session, each sounds as beautiful, poignant and essential as the next.