Review: Maghreb rhythms and Tunisian vocals. The Brussels-based producer has flipped the script on this much-anticipated follow-up, swapping North African sounds and voices for those from the Indian sub-continent (the set was partially recorded in the city of Chennai). While this may surprise some, the basic formula - exotic rhythms created using drum machines, overlaid with a mixture of psychedelic electronics, traditional instrumentation and locally-sourced vocalists - remains as inspiring, heavy and intoxicating as ever. Given that he's pushed the boat out even more musically, Global Control/Immersive Invasion is arguably even better than its brilliant predecessor.
Review: Earlier in the year, Japanese label HHV delivered a vinyl reissue of Ryo Fukui's final album, 2016's touching tribute to the jazz club in Soporo he co-founded, Showboat. Now Swiss imprint We Release Jazz have offered up the very same album on CD, at a price that will be far more attractive to listeners on this side of the world. It's worth picking up because in our opinion A Letter From Showboat should be considered a contemporary piano jazz classic. Fukui is on fine form throughout, and it's his fluid and expressive solos that make the album sing. The late pianist's accompanying musicians make their presence felt at just the right time, too, with their best work coming on the album's more up-tempo workouts (think 'Speak Low; 'Soultrane' and 'Sonora').
Review: The latest on-point release from reissue specialists Wewantsounds is a much-needed new edition of Billy Brooks' hard-to-find 1974 set, Windows of the Mind. The album has long been sought after by record collectors, partly because one of its tracks (the superb 'Fourty Days') provided one of the stand-out samples on A Tribe Called Quest classic 'Luck of Lucien', but mostly because it's exceptionally good. For proof, check the bombastic fusion of Blaxploitation funk and big-band jazz that is opener 'Rockin' Julius', the effortlessly slick and fluid jazz guitar solos of 'Coolin' It', the swinging late night jazz-club tidiness of 'The Speechmaker', and the car-chase soundtrack craziness of 'Good News Blues'.