BBE 黑胶唱片和CD

Review: Roy Ayers staked a bold claim by flaunting the fact that he had 'Reach[ed] The Highest Pleasure' back in June '77. Unfortunately for us back then, this lifetime hedonistic milestone - documented in instrumental funk form - was shelved for reasons unknown beyond simple artistic oversight. As said, this slick solo instrumental for drums, bass and vibraphone is a perfect soul-jazz, chillout trifecta, one for the rarities collectors.

Review: BBE has delivered something of a future classic here, as decorated Eastern European harpist Alinha Bzhezhinska and British tenor saxophonist Tony Kofi join forces on a picturesque full-length excursion dedicated to the memory of spiritual jazz maestro Pharoah Saunders. It's a genuinely unique and hugely evocative affair, with Kofi's meandering, mesmeric melodies and inspired improvisations snaking in and out of Bzhezhinska's dreamy harp motifs and melodic percussion instruments (think bells, marimbas, vibraphone, xylophone and so on). It's not a familiar musical palette, but it's one that consistently delivers - and then some. Our picks of a very strong bunch include lucid opener 'Tabula Rasu - Blank Slate', the exotic and psychedelic 'Audite Me - Hear Me', and the picturesque, meditative closing cut, 'Altera Vita - Another Life'.

Review: Jazzanova remains one of the most musically astute and adventurous acts in the electric scene. Their sounds never seem to age and fuse everything from jazz to funk to soul. That makes them perfect for remixing by more dance floor-orientated producers and that is what we get here. Alongside an original tune 'Creative Musicians' Detroit talent Waajeed brings his warm machine soul and deep grooves, Henrick Schwarz's signature melodic majesty and serene sounds are on display and further dubs and instrumentals are also included. This one really packs a punch for fans of broken beat.

Review: In truth, not all DJs are genuine "tastemakers", but Lefto most certainly is. Like the similarly minded - if far older and more experienced - Gilles Peterson, Lefto gets as much pleasure from introducing people to new and obscure music, as he does from rocking clubs. It's for that reason The Beauty Is Inside, a terrific, lightly blended mix of eclectic, far-sighted sounds hand-picked by the Belgian, is such essential listening. It naturally contains some slept-on tackle from the past - see the cuts by Ethiopian singer Alemayeu Eshete and South African artist Patience Africa - but even more killer contemporary fare, with highlights including the contributions of Qur'an Shaheed, Elisa Bee, fellow Belgians abrahamblue and contemporary jazz hero Makaya McCraven.

Review: MF Robots' Dawn Joseph and Jan Kincaid dropped real heat back in 2021 with their Break The Wall album. 'Make The Call' was one of the standout tunes from it and now BBE has assembled a series of new remixes of it by Two Soul Fusion. That tackle all genres starting with a house remix full of soul and warm drums. The Boogie remix is an instrumental take that unfurls over nine minutes of ass-shaking and irresistible groovy goodness. Then comes the same tune with the lush vocal left in before an instrumental of the house remix to close the package.

Review: For the latest volume in their ongoing J-Jazz Masterclass series exploring the world of Japanese jazz, BBE has delivered the first ever reissue of Tatsuya Nakamura's formidable 1984 set Locus. The album itself has long been hard to find, even within Japan, and is considered by collectors to be one of those 'Holy grail' sets whose musical quality makes it worth tracking down. Across the four tracks, drummer and percussionist Nakumura is joined by a stellar cast of musicians to explore distinctively different takes on jazz-fusion, from heavy Latin influenced drum jams, to experimental ambient and colourful cuts that sit at different points in between.

Review: BBE is the kind of label you can trust with any kind of reissue project, and when they call upon DJ Spinna and Kai Alce to look back over the foundations of house music, you know you're about to get a masterclass. This intermittent series has seen the two US DJ/producers picking through seminal house joints, editing the most crucial mixes to fit on a 7" as a neatly presented series for anyone wanting to point out exactly what house music really is. This time around they've turned to Sandee's 'Notice Me' - a Latin house joint from 1988 which rocked clubs like Tunnel and Palladium in NYC and Riviera in Chicago upon its original release.

Review: 'Folk funk and trippy troubadours' main man Paul Hillery - a dedicated crate digger and vinyl hunter whose musical knowledge is exceptional - scored a hit with his first compilation We Are The Children of The Sun. He's now curated a sequel, which once again explores a range of rare, thoroughly obscure sounds that he loosely terms 'folk funk' and 'Balearic AOR'. This is music for sunsets, sunrises and long drives through grandiose landscapes. The plentiful highlights include, but are in no way limited to, the synth-sporting cosmic AOR brilliance of Forest's 'Crazy Days', the jazz-folk brilliance of Wendy Grace's 'More Than Hope', Aria Rostami's acoustic ambient excellence ('Golden Hour') and a previously unheard cover of 'Milk & Honey' by musical polymath Greg Foat and his ever-changing backing band.

Review: .For the latest volume in the label's essential J-Jazz Masterclass series of reissues, BBE has opted to deliver a new edition of a hard-to-find 1973 collaboration between American pianist Mal Waldron and Japanese trumpeter Terumasa Hino. Originally released only in Japan, it comprises two lengthy compositions (one by each artist) performed by the duo and talented sidemen Isao Suziki (upright bass), Motohiko Hino (drums), Takao Uematsu (alto sax) and Uzi Inamuro (percussion). Waldron's LP-opening composition adds alternating, increasingly hectic solos to a gradually intensifying groove (a formula the storied pianist used extensively during this period of his career), before morphing and mellowing as the suite progresses. Hino's 'Black Forest', meanwhile, is more up-tempo and horn-heavy, with oodles of extra percussion and expressive, mind-mangling solos aplenty.