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: Matasuna Records' latest release offers up two sought-after tracks from Bossa 70, a relatively short-lived Peruvian band whose ultra-limited 1970 releases (a total of 400 copies were pressed of their sole single and eponymous debut album) brilliantly joined the dots between jazz, bossa, soul and funk. Listening to these cuts for the first time, it's easy to see why Matasuna has gone to the trouble of licensing them: A-side "Si Voce Pensa" is an inspired Peruvian funk cover of a 1968 Roberto Carlos track rich in bustling breakbeats, punchy horns and confident female vocals. Just as potent is the band's flipside cover of Baden Powell's "Berimbau", which puts a funk-soul twist on a certified bossa-nova classic.
Review: Mukatsuku struck gold again on this latest first time on a "45" issue. It boasts a couple of lesser-known jazz-funk fusion jams which originally featured on Argentine musician Jorge Navarro's 1977 album "Navarro Con Polenta", an LP that has never been issued outside of South America. A-side "Funk Yourself" is a bustling, high-octane jazz-funk Hammond licks and spiralling horns jumping above a Blaxploitation style backing track. "Repartamos El Funky" is a more laid back but no less musically intricate affair, with a variety of high-grade electric piano and guitar solos riding seemingly endless jazz style drum solos and rubbery bass. Juno hand-numbered copies come in exclusive sleeves and this 45 not be repressed. DJ Support comes from Ge-ology, Dom Servini, DJ Koco (Japan), DJ Food,The Allergies,45LIVE.net ,Dr Bob Jones,Rob Luis, Smoov and more
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: 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.
Review: You can always rely on 5 Borough Breaks for some top shelf hip hop. The label's latest missive is a legendary one from O.C. - "Time's Up" is a rousing, hard hitting beat with an even tougher verse that rides on the booming kicks. It also samples Les DeMerle's "A Day In The Life" which just so happens to be pressed on the flip and yes, it is in fact a cover of The Beatles. Here though, it becomes a stirring big bang jazz cut that forms an impressive wall of retro sound that will inject realness and rawness into any party. Like always with this label, quantities are limited so move fast to get your fix.
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.
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
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: The music that makes up Harmony of Difference, Kamasi Washington's first EP of note since the release of acclaimed 2015 album The Epic, was premiered live as a "six-track movement" earlier this year. The "suite" - here stretched across both sides of an essential 12" - sees Washington continue to explore the idea of what it means to be black in America in the 21st century. Musically, the EP contains some of his smoothest and most laidback compositions yet, with all his musical collaborators being on fine form. The headline attraction is undoubtedly 14-minute flipside "The Truth", an almost operatic jazz epic full of swelling choral contributions, fizzing drum solos, rising horns and, of course, plenty of Washington's distinctive saxophone.
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.
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: A modern day Scott-Heron, without the myriad of demons on his back, Grammy-nominated jazz singer Porter has such a distinctive voice, charm and band command. He clearly lends himself well to edit culture (as proved by the huge success of the many "1960 What?" versions in recent years) and this 7" from Expansion is no exception. "On My Way To Harlem" is straight up narrative jazz with fantastic attention paid to the subtle samba and solemn horns. "1960 What?" speaks for itself; far more authentic to the original than the other versions that have popped up, if you've not already got a favourite edit - Jazz & Cole have the answer.
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: 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: 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: During the 1970s, Sanifu Al Hall Jr decided to form a group dedicated to blending jazz, soul and cutting-edge electronic sounds. The brilliantly named Cosmos Dwellerz Arkestra never released any music during the period - not commercially, at least - with this fascinating 12" marking their belated debut. "Love Thoughts", which was committed to tape in 1977, is undoubtedly intergalactic, offering a spiritually-minded mix of spiraling jazz-funk synths, woozy horn solos, stoned drums and toaster-hot bass. On the flip you'll find an interesting curio: an extended 1967 radio interview with Sanifu Al Hall Jr in which he discusses his musical story and approach to life.
Review: Manchester's Gondwana Records, run by Matthew Halsall, has been a constant source of good vibes and inspiration. Leaning on a jazz note, most of the material is centred away from the dance floor and yet there is always plenty of movement and joyous rhythm, particularly from Halsall's appearances. Here, we have a reissue of 2015's "Journey In Satchidananda", a majestic wave of jazz flutes, seductive piano keys, in what is an altogether dreamy sort of setting, which is further evolved on the supremely euphoric waves of the unbeatable "Blue Nile". At last, some contemporary jazz on 12" that has left us blown away..!
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: Founded in 2017, Ronin Arkestra is a fusionist jazz/electronica collective from Tokyo founded by broken beat keys-man Mark de Clive-Lowe. Given that the band includes some of the finest players in Japan's contemporary jazz scene - most notably members of Kyoto Jazz Massive, WONK and Sleepwalker - you'd expect this first outing on Albert's Favourites to be rather good. It is, of course, with the band sashaying between dubbed-out soundscape jazz ("Stranger Searching"), sun-bright jazz-funk influenced positivity ("Redeye Reprisal"), loose-limbed, semi-improvised intensity ("The Silk Road Prelude") and, most notably, an awe-inspiring 21st century re-imagining of John Coltrane classic "A Love Supreme".
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: 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: 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: Back in 2017, we aptly described the Jukka Eskola Soul Trio as "the Finnish horn boss's newest project". The combo is now not so new, of course, but the trumpeter and flugelhorn player's outfit remains a go-to source for quality jazz and jazz-funk material. There's more than a little Latin flavour to be found on "Tiny B", a Hammond-powered shuffler rich in South American drum rhythms and the kind of sticky trumpet solos that were once a hallmark of Herb Alpert's records. Flipside "Stick Of A Branch" is a far more up-tempo affair, with Eskola's punchy playing riding fluid vibraphone motifs and floor-rocking jazz drums.
Review: Longstanding horn boss Jukka has been cooking up rare gold for over 10 years now in various troupes and forms. The Soul Trio is his latest project, having sparked the fire last year on We Jazz. The fire now heating up with every toot, this Timmion 45" is a jazz funk inferno. "Introducing The Soul Trio" is a snare-rattling, organ-snapping entry tune while the clipped, hooky riff on "Martha's New Movement" is the finishing move. Victory is Jukka's.
Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible. Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with "Colors" and "The Creator Has A Master Plan" both capable of making the toughest of audiences feel utterly uplifted. On the flip, "Love Is Everywhere" shines bright amid a flurry of flutes and intricate drum percussions, while "You've Got To Have Freedom" rides off a much smoother, deeper sort of vibe that's got a little funk at its core. Wicked.
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: Despite not releasing all that much in 2018, Canadian nu-jazz combo BADBADNOTGOOD's reputation continued to rise. That was in no small part due to their eye-catching collaboration with Little Dragon, which resulted in the digital release of "Tried" back in September. Now the track has been given a deserved seven-inch single release by Ninja Tune. With LD lead vocalist Yukimi Nagano doing her best to channel the spirit of Minnie Riperton, "Tried" has a similarly languid, jazz/folk/soul fusion feel as some of the best works by Rotary Connection. BADBADNOTGOOD's admiration of the Charles Stepney-produced band comes through loud and clear through the choice of instruments and arrangements. For further proof, check the accompanying flipside instrumental mix.
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: 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.