Review: Ubiquity is back with another of its two part 7"s, this time from contemporary soul group The Soul Surfers. Experts at covering the greats, they recently turned their hand to a classic from The JB's, while this time out it is Kool & The Gang's classic "Summer Madness" that gets a deep-cut and sexy make over. Part 1 is a sensuous slow burner with downtempo drums and heavenly guitar playing, while part 2 has harder drum grooves and dreamy , psyched-out guitars. It's another ageless rework that you need in your life.
Review: Dynamite Cuts lives up to its name with this limited 7" from acclaimed Brazilian jazz singer Tania Maria. Two driving and dancey tracks pressed nice and loud for the first time on 45, "Fio Maravilha" is a busy arrangement made up of wild piano, big raw drums and Maria's impassioned, lung-emptying singing that whizzes along at pace. "Bedeu" has a little more Latin flavour, bossa nova swagger and space in the mix for the soul to shine through. Drop either one and take shelter, cause both of these cuts are bombs.
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: Swedish house producer HNNY gave up DJing in 2016 but has still been working on music in the background, and we're glad he has, because the two cuts here for new label born out of a Stockholm audiophile bar, Hosoi, are lovely. A side "By" conjures a gorgeous mood with soft snares and what sounds like Spanish guitar strumming away beneath aching vocal coos. Flip over for "Hosoi", a dreamy downtempo groove with live sousing drum work and incidental chords that drift by on a warm breeze. This EP is a perfect tonic for those needing a break from busy modern life.
Review: It seems so obvious you wonder why it doesn't happen more often: Stefano Torossi's "Feelings" album from 2000 was made up of track titles that convey certain situations and emotions that he masterfully reflects in the music. This new double 7" includes the highlights, such as the racing jazz and trumpet stabs of "Running Fast," the sustained and uneasy chords of "Fearing Much" and "Feeling Tense," which is actually a pretty lush bit of smooth jazz. "Walking In The Dark" rounds off the double pack with playful guitars and luxuriant synths that are pure soundtrack goodness. Ace.
Flying Fantasy (exclusive instrumental version) (4:35)
Rhodes E Serenidade (3:37)
Review: Small repress of the Modern Sun Records founder and experienced jazz-wise producer Marc Friedli AKA Skymark. A-side "Flying Fantasy" originally appeared on the Spanish producer's 2016 album "Resistance Sonore", but is here featured in instrumental form for the first time. If anything, it's better than the original version, largely because we get to revel in Friedli's mazy Fender Rhodes solos, rubbery jazz-funk synth bass and loose-limbed, West London style broken beats. You'll find plenty more jaunty jazz-funk vibes and liquid electric piano solos on B-side cut "Rhodes E Serenidade", which first slipped out way back in 2015. DJ Support so far from Dom Servini, Emanative,Red Greg,Kevin Beadle, Mike Chadwick,Dynamite Cuts & Rocafort Records so far
This Is What You Are (feat The High Five Quintet - radio edit) (4:21)
This Is What You Are (The Brazilian Rime) (4:53)
Review: "This Is What You Are" is undoubtedly Mario Biondi's most celebrated work. He first sung it for original composers Was A Bee in 2004, before re-recording it for his debut album (alongside the High Five Quintet) in 2006. Since then it has been reissued or remixed on numerous occasions. Here it gets reissued on a tidy 7" single, with a punchy radio edit - a swinging, Sunday afternoon style chunk of Latin soul-jazz rich in jaunty grooves, soaring orchestration and smooth vocals - being joined by the "Brazilian Rime" rework. This tasty re-recording re-casts the song as a breezy, samba-fired slab of early 1970s style Brazilian MPB. It's an inspired interpretation and could well become the definitive version of the track.
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: Samba flavours do not come more authentic than this. The sixth in Mr Bongo's Brazil 45 series, here they unearth two foundation pieces from Rio collective Os Origianais Do Samba. Forming in 60s Rio, they're still highly active today and have a discography peppered with Brazilian gold. This 45 does well to showcase their breadth... "La Vem Salgueiro" is quintessential samba. Heavy rhythm, punctuated vocals and a dynamic that leaps from bold and delicate in a flash, it charms you instantly. "Tenha Fe" has a softer soul as it strums and sways and more of a folky sensation, tight harmonies and alluring naked instrumentation.
Review: Astonishingly, Boogaloo's re-make of Pharoah Sanders classic "You've Gotta Have Freedom" is now 24 years old. It was originally included on the B-side of the jazz-loving Swedish hip-hop outfit's 1995 EP "Humongous Steps (Back Down To London)", but arguably became more widely known when it was reissued by G.A.M.M. on 12" in 2003. Here it appears on 7" for the first time, with the band's vocal version - a positive, life-affirming delight that brilliantly flits between sections faithful to Sanders' version and rapped section underpinned by live hip-hop breaks - being accompanied by an equally impressive instrumental take. If it's not already in your collection, this edition should be an essential purchase.
Review: Wow, classics don't come much more special than this. A like-for-like repress of the 1970 RCA release, both sides here are soaked in Scott Heron's raw troubled soul. The endlessly sampled, hugely powerful and perfectly funky "Revolution" remains almost as poignant and prophetic as it was the day it was penned. "Home Is Where The Hatred Is" is much more personal and reveals his talent as a singer as much as the lead track boasts his poetry and ability to deliver a strong message.
All The Way (feat Tyler Daley & Kaidi Tatham) (4:00)
All The Way (feat Tyler Daley & Kaidi Tatham - Flutestrumental) (3:59)
Review: A warm welcome back to the Darkhouse Family, Cardiff's finest purveyors of soul-fired instrumental hip-hop and jazz-funk flavoured broken beats. The good news is that "All The Way", which features the combined talents of guests Tyler Daley and Kaidi Tatham, is every bit as good as anything on their superb 2017 album "The Offering". The A-side original version, in particular, is superb - a languid chunk of head-nodding hip-hop soul rich in double bass, drowsy jazz horns, twinkling pianos and impassioned, emotive vocals. That said, the instrumental flipside revision, which includes extended flute solos where the vocals once say, is also impeccable.
Review: Tennessee's legendary jazz pianist, Harold Mabern, is surely one of the kings of the mighty Prestige label, and his material helped bridge the gap between jazz and funk back in the 1970s, alongside the likes of Idris Muhammad, The Jimmy Castor Bunch and all those geniuses. "I Want You Back" is a stone-cold classic and contains one of the most hummable trumpet lines ever, and if you hear closely it's been reworked and sampled by none other than the King of pop when he was only a little one. Funk Inc's sublime "Sister Janie" resides on the flip, a more lo-fi funk bullett for the diggers, and complete with a dusty organ!
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: Cuban bandleader, composer and rumba magician Ramon Santamaria had a huge influence throughout his 40 year career, notably writing Coltrane's famous "Afro Blue". Here are two of many stand-out cuts from his 1963 album Watermelon Man! While most the album's focus was on his Herbie Hancock cover, it's tracks like these that really gave the album its spirit and unique character; "Yeh Yeh!" is a samba shaking horn-led cut laced with crackling percussion and party cries while "Get The Money" leans back with rhythm and blues sass and a rhythm that's as powerful as Ramon's legacy. Moneymaker shaking guaranteed.
Review: 1974's Coming Right At You, the sole album from 100% Pure Poison, has long been a sought-after jazz-funk gem. Soul Brother has previously reissued the rare (and increasingly expensive) LP, though this double 7" marks the first time most of these tracks have been available on wax since 2001. Check first opener (and title track) "Windy C", a superb chunk of lolloping, laidback jazz-funk that sits somewhere between Bob James and Cymande, before turning your attention to the slow-burn soulful delights of string-laden torch song "Puppet On A Chain". Over on the second 7", "No More City, No More Country" is a more hard-spun Blaxploitation funk affair, while "Hole In My Shoe" is a horn-fired slab of J.B's style funk-soul fusion.
Review: Rich gutsy soul from a man who's regularly described as Brazil's James Brown, "O Journalerio" is a blueprint funk jam. Released in 1971 (on his hyper-rare album BR-3) it's all about the orchestrated swing, bluesy groove and Hammond licks so lavish you need to towel on every listen. Flip for Som Tres... An off-shoot of the Sambalanco Trio, it's the sound of Cesar Camargo Mariano controlling a restrained rolling slice of filmic instrumental funk where horns, keys and drums gather momentum with big band drama. Neither have been released on 45" before, making this all the more special.
Review: ** REPRESS ALERT ** 2019 marks 50 years since this timeless classic's original release. The Peddlers' "On A Clear Day You Can See Forever' is a sumptuous smooth jazz journey full of organ solos and deep vocal tones. The British soul/jazz trio is known for creating a unique melange of beat, jazz, cabaret, rock and soul that must be heard to be believed. Flip side "Comin' Home Baby" is like passing through a cloud composed of equal parts Tom Jones, Jimmy Smith, Georgie Fame, Mel Torme, Alan Hawkshaw and dozens of lesser jazz/lounge vibe-creators. Get this copy for a spine-tingling rush of harmony from the late sixties.
Review: For the latest missive on their excellent Jazz45 sub-label, Jazzman has decided to offer up two sought-after catalogue cuts from contemporary spiritual jazz maestro Muriel Grossmann, a sax player, singer and composer who already has a swathe of quality albums to her name. First up is an edited version of 2018 cut "Golden Rule", a wonderfully breezy and out-there affair that sees Grossmann add mind-altering sax solos to a heavily percussive, off-kilter backing track rich in jaunty pianos and slick double bass. On flipside "Okan Ti Aye" she layers up the drums and cymbals further while offering bolder, heavier sax motifs. The result is a track of rare drive and intensity.
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: Dedicated to the Hammond-heavy 1960s soul-jazz sounds of Jimmy Smith, Jimmy McGriff, Grant Green and Reuben Wilson, the Beat Bronco Organ Trio are a fresh outfit with classic inspirations. The Madrid threesome's debut single is something of a retro-futurist treat. We're really enjoying A-side "Easy Baby", a loose and languid fusion of ear-pleasing Hammond licks, laidback, breakbeat-driven drums and flanged jazz guitars that impressively increases in intensity throughout, culminating in a frenzy of sweaty drums and eyes-closed guitar solos. "Geriatric Dance", meanwhile, is even more up-tempo, with high octane Hammond and jazz guitar solos stretching out over a feverish funk drumbeat.
Review: The latest limited-edition salvo on Jazzman's contemporary jazz offshoot Jazz45 comes courtesy of Soren Skov Orbit, a Copenhagen-based outfit formed by saxophonist Soren Lyhne Skov and pianist Peder Vind. The two tracks stick closely to the project's founding principles of fusing global musical traditions with modal jazz. A-side "Orbit Bound", where hissing cymbals, hypnotizing piano motifs, plodding double bass and ear-catching saxophone solos cluster around a droning bass clarinet, is probably the pick of the pair, though the more straight-up, trad-jazz warmth of "NV" is also very enjoyable. As debut outings go, it's hugely impressive; here's hoping we hear more from Skov and Vind in the months and years ahead.
Review: The Nat Birchall Quartet debuts here with Tunji, a new 7" special out through the inimitable Jazz45 imprint, home to some of the best contemporary jazz - of all shapes and sizes. The title tune "Tunji" is a sax-led masterpiece, slow yet constantly building and morphing into something new and exciting, taking the term 'broken beat' onto a new platform. Conversely, the B-side's "Mode For Trane" lingers at a slow tempo, transporting you into a bittersweet lullaby with Nat Birchall's sax very much in the spotlight. What a cracking little 7" - TIP!
Review: Two crucial moments from Gil Scott Heron's immense repertoire; "When You Are Who You Are" takes the lead. Taken from his 1971 album Pieces Of A Man, it's a straight up homage to clarity and honesty told in the context that only Gil knew best. Flip for a very special alternative take of "Free Will". The title track of his following album, released a year later in 1972, the variations of this take (which has never been released on vinyl before) are subtle but strong enough to justify it a place in your collection.
Review: Since launching last year, the Dynamite Cuts has delivered a string of killer seven-inch singles featuring sought-after cuts from fantastic old albums and this is another must-have along the same lines. It boasts two tracks from Clarence Wheeler and the Enforcers' 1970 debut album, "Doing What We Wanna Do", neither of which have appeared on a "45" before. You'll find a riotous Hammond funk explosion rich in energetic, break-driven drumming and wild trumpet and organ solos on the B-side, with the similarly sweaty title track nestling on the A. This insatiable number is altogether deeper and looser in feel, with tasty group vocals rising above bustling drums, warm Hammond lines and punchy sax solos.
Review: Supreme musica popular Brasileira and bossa-nova vibes here on two tracks from Mr Bongo's leading Brazilian 45's lady, Claudia. "Deixa o Morro Cantar" features on Claudia's very first 7", released in 1965 by RGE Brazil. Her version of "Mas Que Nada" is said to be more of a jazzy/folk-funk take on the Ben classic. A relatively recent discovery made during the label's last trip to Brazil, Maria das Gracas Rallo was born in 1946 in Rio de Janeiro. She has become the most awarded singer outside of her home country and was most popular internationally in 1982 with the song "Don't Cry for Me Argentina" from the musical Evita. Moreover, she has recorded over twenty albums and has amassed huge record sales throughout her successful career.
Review: Two premium Latin funk documents on one limited 45, Mr Bongo deliver once again: Marcos Valle needs no introduction to Brazilian music enthusiasts. "Mentira" is a self-cover as Valle takes his 69 classic "Mentira Carioca" and develops the dynamic with a vocal style that's highly reminiscent of Donovan. Flip for Toni Tornado's Black Rio anthem "Me Libertei". Fusing sleazy rock n roll with jazzy Latin soul, madly this is the first time it's ever graced a 45!
Review: Brazil 45s hit the quarter century in their run and show no sign of stopping. It's an all-girl affair on this one as two hugely popular and prolific singers take a spin under Mr Bongo's spotlight. Elizabeth (often known as Elizete) lays down a steamy samba flavour that gets raunchier as the track develops. Elza, meanwhile, gets busy on a Bossa tip as a carnival of percussion and horns go toe-to-toe with her sharp, sexy staccato vocals. Powerful.