Shabaka Hutchings - "Black Skin, Black Masks" (6:59)
Triforce - "Walls" (5:07)
Joe Armon-Jones - "Go See" (7:38)
Kokoroko - "Abusey Junction" (7:03)
Review: We Out Here, Brownswood Recordings' latest compilation, was born out of a desire by label boss Gilles Peterson to capture the essence of London's contemporary jazz scene. To ensure a sense of there "here and now", Peterson invited some of the city's brightest young bands and musicians into the studio in August 2017, recording the results over three action-packed days. The resulting never-heard-before tracks are, for the most part, joyous and thrilling, and range from trad jazz, jazz-funk and Latin jazz to acoustic-electronic fusions and groovy, guitar-laden downtempo explorations. It feels like a glimpse of a scene on the rise, and we wouldn't be surprised if many of those involved become modern British jazz greats in the years to come.
Review: Two titans of African music come together for a collaboration that will sadly never be repeated after the passing of the late Hugh Masekela. Allen's instantly recognisable drumming and Masekela's iconic trumpet are a match made in heaven - after all their paths first crossed back in the 70s thanks to Fela Kuti's galvanizing energy. Forget the throwback stuff trying to capture the spirit of the originators, this IS the originators sounding cool and deadly in every way. Funk lovers, Afrobeat heads, curious ears and dancing souls take heed - this right here is an unmissable transmission from two grandmasters in their field.
Review: The fact that Ethiopian Modern Instrumentals Hits has been reissued on numerous occasions over the last two decades is testament to the enduring quality of this most obscure of compilations. It first appeared on Amha Eshete's Amha Records label way back in 1972, and was the imprint's tenth and final album. An all-star affair featuring many of Eshete's most trusted musicians and producers, its ten tracks gleefully join the dots between dusty rhythm and blues, jazz, funk, soul, Brazilian rhythms and African grooves. It's genuinely "all killer" and "no filler", which may go some way to explain Heavenly Sweetness's decision to put it out again.
Review: South African jazz-influenced sounds take the lead on this new companion from the tireless Brownswood label. The collection explores the linage of the sounds and communities who helped it evolve as is spread across the country meaning plenty of subtle synths are taken in. The eclecticism is what makes this so essential as the music ranges from the hugely spiritual (from The Brother Moves On) to more late night and inmate (tasks to a fine entry from Sibusile Xaba) via the neo-soul drenched styles of Thandi Ntuli's beautiful 'Dikeledi' which is a particular highlight.
Review: In a stroke of ingenuity Noori found a neck of a guitar whilst rummaging through a Port Sudan scrapyard along the Red Sea Coast in the 90s. Using their welding talents they fixed it onto a traditional four stringed tambour, creating what may be the only tambo-guitar hybrid in the world. Beja Power! Is a love letter to the Beja culture, inherently political and almost erased by the former Sudanese leader. This historically rich niche of Afro-Jazz is both nostalgic and mystical. Elements of surf rock, electric blues and psychedelia can be heard in these instrumental tracks, a 6-track capsule of a powerful identity nearly lost to the sands of time. Noori & His Dorpa Band's style is authentic and evocative and is a joyful proclamation and demonstration of the magic that is Beja sound and aesthetic.
Review: For their latest essential primer on Sudanese music, Habibi Funk has chosen to focus on singer Sharharbil Ahmed, an artist whose desire to update Haqiba, a popular secular style of vocal-driven music, made him a pivotal figure in the 1960s. In his home country, Sharharbil became known as the "king of Sudanese jazz", a distinctive style that melded local instrumentation and vocals with jazz horns and heavy, guitar-driven grooves that drew much inspiration from rock and roll, surf-rock and rhythm and blues. The compilation does a great job in showcasing this insatiable, effervescent sound, showcasing the very best of Sharharbil's golden period output, most of which has never before been released outside of Sudan.
Review: A true Ghanaian legend, Taylor's fusions of traditional Ghanaian music with jazz, funk, reggae and soul helped set the blueprint in the early 70s and here's where it all began: 1975, a highly limited debut on Gapophone Records. Reportedly pressed only 500 times due to the country's dictatorship, it's a beautiful introduction. Sweet-tasting highlight with strong reggae references throughout, highlights include the epic 13 minute jam "Maye Omama" and the ebbing, flowing rocksteady soul of "Will You Promise". Still active, teaching and playing at the age of 80, Taylor's music has matured just as well as he has.
Review: Habibi Funk co-founder Jannis Stuertz first came across "the Holy Grail of Sudanese funk", Saif Abu Bakr and The Scorpions "Jazz, Jazz, Jazz", while browsing eBay listings a few years back. His interest piqued, he took a trip to Sudan to track down the musicians who had made a ridiculously rare LP that was changing hands for thousands of pounds online. Some four years later, his wish to reissue the set has finally come through. It was originally recorded in Kuwait in 1980 and brilliantly joins the dots between American funk, soul and rhythm and blues, traditional Sudanese vocals and rhythmic arrangements, and even a dash of Congolese soukkous. It's the first full album Habibi Funk has reissued, and with good reason: it's near perfect from start to finish.
Review: Many will know Teaspoon & The Waves' incredible 'Oh Yeh Soweto' - a brilliant Afro-disco riff on Lamont Dozier's 'Going Back To My Roots' that has appeared on countless compilations and re-edit releases over the years - but fewer have heard the rest of the tracks on the South African band's incredible 1977 debut album (in part because original copies are rather hard to find). To those people, we'll say this: check out this Mr Bongo reissue right now! Blending Afro-jazz with jazz-funk, soul, deep funk and disco, every single track is a winner, with highlights including the celebratory 'Friday Night', the dazzling, duelling solos and heavy percussion of 'Saturday Express' and the life-affirming brilliance of 'Got Me Tight'.
Mahmoud Ahmed - "Aynotche Terabu" (with Equators Band) (4:02)
Girma Beyene - "Ene Negn Bay Manesh" (2:24)
Review: The Afro 45's / Mr Bongo lineage has produced some of the hottest, most sizzling funk reissues from around the globe, and this tasty two-header from Mahmoud Ahmed - who has appeared heavily on Portland's monumental Mississippi label - and Girma Beyene, two greats of the African soul / funk heritage. Ahmed's "Aynotche Terabu" is backed by the Equators Band, and the man's voice rides like crispy waves over the dusty percussion and charging trumpets of the outfit; Beyene appears with a less moody but equally brilliant jazz-leaning piece named "Ene Negn Bay Manesh", bringing through the spirot of greats such as Mulatu and the rest of the African luminaries.
Review: The Invisible Sessions new album Echoes of Africa is the first on the newly launched Space Echo label out of Italy and is richly rooted in black music. It's been 15 years since a breakout release put this group on the map and now trombonist and multi-instrumentalist Gianluca Petrella and poet, rapper and MC Martin Thomas Paavilainen (aka Benjamin "Bentality" Paavilainen) link once more to great effect as they use jazz as a vehicle to convey their messages of cultural synergy, unity and love. Afro-beat and Ethio-jazz, funk, psychedelia, and modal music all colour the most compelling grooves.
Imtaxaanka Dunida (The Test Of Life) (feat Mahmud Abdalla "Jerry" Hussein) (4:48)
Review: Iftin is a band from Somalia that has a cult status amongst those who know. This is the first-ever retrospective of their music and it has taken seven years to get together. The music is taken from cassettes recorded between 1982 and 1987 at Al-Uruba hotel's secret studio. They were often performed for crowds in the basement of Somalia's national theatre and mix up Banaadiri rhythms from the south of Somalia, vocalists from Mogadishu and reggae-styled guitar riffs from Dhaanto all powered by brass that bends the traditions of Asia, the Middle East, and Africa. Truly world music.
Review: German-Ghanaian group the Polyversal Souls have previously collaborated with a number of bands and solo artists from West Africa, so this hook-up with Northern Ghanaian outfit the Bolga All Stars - a collective made up of leading local kologo and frafra-gospel singers and musicians - should not come as much of a surprise. Separated into two parts for the seven-inch release, the track blends the Polyversal Souls' lolloping, late '60s style Afro-funk grooves - complete with fuzzy, period style production - and sharp horn section with glistening guitars, snaking solos and fine vocals from the Bolga All Stars. It's one of the Polyversal Souls' finest releases yet, and that's saying something.
Wallias Band - "Muziqawi Silt" (instrumental) (3:45)
Marumo - "Khomo Tsaka Deile Kae?" (3:42)
Roger Damawuzan & Les As Du Benin - "Wait For Me" (3:14)
Shina Williams & His African Percussionists - "Agboju Logun" (Mr Bongo 7" edit) (4:02)
Girma Beyene - "Enken Yelelebesh" (3:21)
Tee Mac & Majorie Barnes - "Nam Myoho Renge Kyo" (5:40)
Yta Jourias - "Adore Nyueto" (5:27)
Peter King - "African Dialects" (4:54)
Alemayehu Eshete - "Tchero Adari Nègn" (4:26)
Tesfa-maryam Kidane - "Heywete" (5:14)
Amadou Balake - "Super Bar Konon Mouso" (5:24)
Kelekye Band - "Jungle Music" (5:40)
Orlando Julius & Ashiko - "Get The Funk" (5:28)
Review: A new week means yet another new compilation from Wagram. The French label has become expert at myriad different genres from staples like house and techno to more esoteric world genre niches. This time out they launch a new series that looks into the rich sounds of Afrobeat, first pioneered by the likes of Fela Kuti and his drummer Tony Allen. Neither of them feature here but the four sides of tunes we do get all make for a deep dive into this compelling rhythmical music.
Review: Recorded in New York in 1966, Miriam Makeba's "Pata Pata" - her first for the legendary Reprise Records imprint - has long been considered one of the most important and influential South African albums of all time. Strut certainly thinks so and has offered up a "definitive version" that contains both mono and stereo mixes of the album, alongside new sleeve notes that tell the singer's remarkable story in vivid detail. Musically the set is rooted in jazz, but also incorporates sounds, rhythms and instrumentation not only reflective of Makeba's home country, but also nods to American soul, Latin rhythms and calypso (the latter showcasing the influence of her mentor, Harry Belafonte).
Review: Alogte Oho & His Sounds of Joy's debut album Mam Yinne Wa was a real triumph. A sensuous fusion of international rhythms, gospel vocals and jubilant vibes that was an instant hit with lovers of world music. His new single is said to be a teaser for a seance upcoming album and is another masterpiece from Frafra Gospe, a legend of this genre. First up is 'Doose Mam,' a repetitive rhythm that goes right for the hips. The big horns bring the character and sensuous vocals are the icing on the cake. On the flip is 'Gure Yose Me,' a tune rooted in reggae rhythms thanks to the work of Josie Coppola, Europe's No.1 reggae drummer.
Red Oil/Beyond Kingdom Come (feat Obongjayar) (4:00)
When The Dust Settles (3:36)
There's Nothing Left For Us Here (feat Fassara Sacko) (6:29)
Suley's Ablution (6:45)
Golo Kan (4:37)
Seasons Of Baraka (2:01)
Review: Mande jazz ensemble Balimaya Project return with much anticipated second album When The Dust Settles on New Soil in partnership with Jazz re:freshed. The group has a magical big band sound that is expanded on here with plenty of personal expression running the emotional gamut from rage to love, grief to joy. Once again they combine the African rhythms of their roots with contemporary London jazz energy as they celebrate Black power and community togetherness. Composer, arranger and Djembe player Yahael Camara Onono leads the group with Afronaut Zu, Obongjayar and Fassara Sacko adding vocals over the advantageous folkloric rhythms.
Review: Acclaimed South African folk singer Vusi Mahlasela joined forces with singer songwriter Norman Zulu as well as the superb Swedish jazz and soul collective Jive Connection for this album back in 2002. It was thought to be a lost recording until it recently showed up and now gets fully revived by Strut. There are strong political links between these countries which no doubt adds weight to this musical link up. It is a great exchange of cultures from parables to laments on child abuse to tunes that fuse reggae, jazz and post-punk with township styles.
Review: Funky Africa is an album that, as the title suggests, totally embodies the sound of Africa. Composer, guitarist, and producer Almon Memela imbues his sounds with everything that makes Afro music great from the wild trumpet lines to the throbbing rhythms and spiritual vibes that run through each tune. It first came in 1975 and has long been one of those cornerstone albums for those in the know. It has been ultra rare since first issue and packs in romantic sounds next to dance floor bait, all with great style and showmanship.
Review: Musician, painter, sculptor and ceramist Henri Guedon was known affectionately as the grandfather of modern music from the French Antilles. His standout album angst more than a dozen was 1975's Karma. An OG copy is hard to find and pricey when you do, so thankfully Outre National Records have secured the rights to this limited edition and remastered reissue. It is an impossibly lively fusion of soul, funk and world, jazz-rock and reggae, Afro-Cuban rhythms and indigenous African sounds like beguine and gwo ka. Guedon's vocals ride over all the many bristling drum and instrumental tracks to make for a real carnival sound.
Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.
The Cliffs - "Revelation" (feat Mankunku Ngozi) (6:41)
The Four Sounds - "Seven Steps Lament" (6:39)
The Jazz Ministers - "Zandile" (11:10)
The Tailfeathers - "Tail Feathers" (4:33)
Cassidy Clarke Band - "Doctor L" (6:39)
Zim Ngqawana - "Kubi" (7:28)
Johnny Dyani - "Magwaza" (13:02)
Review: Fred Spider Presents Chakalaka Jazz: A Selection of South African Gems celebrates South Africa's unique and ever-moving jazz landscape. It is a scene that has always blended traditional niches with global influences and styles like marabi, goema and mbaqanga capture the essence of this as Fred "Voom Voom" Spider dives into those and many other rich, eclectic depths. Spider's term "Chakalaka Jazz" reflects the spicy blend of influences and is named after the local relish made from tomatoes, onions and chilli. This collection, spanning 1969 to 2003, is a mix of local talent, exiles and expats that honours the golden era of the 1970s.
There's Nothing Left For Us Here (feat Fassara Sacko)
Suley's Ablution
Golo Kan
Seasons Of Baraka
Review: Two years on from the release of their fantastic debut album, Wolo So, Balimaya Project returns with more inspired fusions of polyrhythms, percussion, heady horns, "virtuosic kora styles", contemporary jazz and traditional Mande music. It's a uniquely sweet, deep and gently sun-soaked sound - all emotive vocals, tapped out tribal rhythms, frazzled solos, dreamy acoustic guitars, glistening highlife-influenced electric guitars and sultry, soulful intent. The London-based collective has long been hard-to-pigeonhole, and it's this impeccably realised but sonically adventurous approach - along with the quality of their musicianship - that's been the key to their success. When The Dust Settles will only enhance their rising reputation - it really is that good!
Review: Introducing the second volume of Super Biton De Segou's Afro.Jazz.Folk collection, led by Malian conductor Amadou Bah, also known as 'The Armstrong Malian'. Mieruba is thrilled to present this collaboration with Deviation Records, showcasing the diverse musical roots of 1970s Mali; combining Afro-Latin percussion, Mandingo songs, jazzy brass, and funky guitar. Segou is a crossroads between the Bambara, Peul, Mandingo and Somono cultures, and Super Biton has drawn on all these traditions to create yet another rich repertoire of rhythma-lyrical wonderment.
Review: Avant-garde percussionist, singer, self-taught trumpet player, composer and author. Edmony Krater, since the late 1970s has been a go to reference for French Caribbean music and all things Gwakasonne. This Guadelopean great had been somewhat quiet since the mid 80s, however in 2019, after the recording of a live show for Cult Berlin club night, African Acid Is The Future that received a release via The Vinyl Factory, his light was relit.
Review: Pops Mohamed's Black Disco reissues from Afrodelic offer a rare glimpse into mid-1970s South African jazz fusion. The 1975 self-titled debut features Mohamed's cosmic organ, complemented by sax and flute maestro Basil Coetzee and bassist Sipho Gumede. Their interplay creates a blissful downtempo experience, highlighted by the innovative use of a drum machine and deeply immersive improvisation. The album's tranquil vibe and cosmic soundscapes showcase Mohamed's unique approach to chill-out jazz with spiritual undertones. The 1976 follow-up, Black Disco 3, continues this journey, with Peter Odendaal and Monty Weber adding to the ensemble. The album evolves the New Age lounge aesthetic into more adventurous jazz territory. "Spiritual Feeling" is reimagined as 'Spiritual Feeling Riding the Blue,' and the centerpiece, 'Dawn,' is a ten-minute, flute-driven exploration that underscores the band's evolving sound. Both albums are reissued internationally for the first time, meticulously sourced from the original analogue tapes, preserving the rich textures and innovative spirit of Mohamed's groundbreaking work.
Review: British Bantu visual artist and musician Zola Marcelle shares her debut album, an ingenious ten-track record of ancestral musings, ethereal sound-dreamscapes and narrative vignettes, informed by soul, broken beat, and the musics of Zimbabwean Shona and South African Sotho. A riveting journey back through bloodlines and future-past hopes, Marcelle brings an impressively playful vocal and etheric attitude; opener 'Highlight' is an invitingly tender funky jazz primer, against which Zola speaks, outlining eternally recursive goals for life; the latter half of the record is more quelling, with 'Kgotso' building on the Sotho word for "stillness" to convey the later feeling of loitering in God's waiting room, while the B-side builds 'Saturn Drive' and 'Beyond' circle back to softly intoned Afro-beatifics.
Review: Ferry Djimmy is quite the character - he is a mysterious Afrobeat figure who also was a former schoolteacher, boxer, Jacques Chirac's bodyguard, and well as being a legendary Beninese musical visionary. He recorded this album sometime in the mid-1970s in support of the revolutionary leader of Benin at the time - Mathieu Kerekou. A fire is reported to have turned all but 200 copies to dust so it is mega rare and expensive to get an original. Acid Jazz reissues it here in all its fiery, lo-fi, gnarly Afrobeat glory. This is a fully licensed project with all new and in-depth sleeve notes by Florent Mazzoleni.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.