In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

Or so we thought...
The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.

STAFF COMMENTS

Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!

Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude. Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall Into Me’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day. It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album. As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is a must-have and indeed, you really do need this!

TRACK LISTING

1. Sunday Sea Improvisation – Tamar Osborn
2. Fidji – Christine Schaller
3. Fall In To Me (Alternate Version) – Emanative, Liz Elensky
4. Turkish Showbiz – Atilla Engin Group
5. Dennison Point – Tenderlonious
6. Adelie (For Lady D.) – Sylvain Kassap
7. We Are Not Invisible – Ola Szmidt
8. Big Kalimba – Greetje Bijma Kwintet
9. At The Speed Of Light – Sarathy Korwar

"Mami Wata" - A Captivating Journey through West African Rhythms Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent. Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures. To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor. This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences. The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.

STAFF COMMENTS

Matt says: Joe Claussell's versions have become infamous throughout the record collecting and DJ world. Extending and expanding on some classic moments with his own distinctly unique, spiritual-like personality. This recent deep dive into "Mami Wata", Brian Jackson's new single, is one of his most expansive for some time; injecting his Latin-via-African tribalism and percussive excellence into the stems giving it a brand new, club-ready makeover. The price tag's a bit wince-worthy I'll grant you; but there's some amazing music housed within this double pack.

TRACK LISTING

Disc: 1
1. Mami Wata (Joaquin's Sacred Rhythm Version)
2. Mami Wata (Joaquin's Extended Album Version)
3. Mami Wata (Joaquin's House Dance Dub Reprise)

Disc: 2
1. Mami Wata (Joaquin's Sacred Arts Story Mix)
2. Mami Wata (Joaquin's Cosmic Arts Future Instrumental Slow Dub)
3. Mami Wata (Joaquin's Deep Dub)

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan. The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... Until now. Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement. “A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. He and Gil from way back to my early years in the Bronx, through to my DJing and producing career into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next in the horizon with us and the one & only Brian Jackson.” Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! What Louie, along with Two Soul Fusion partner Josh Milan and I do are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

STAFF COMMENTS

Matt says: Two Soul Fusion grace the second deluxe BBE double pack this week. Four different remixes of brand new Brian Jackson material. Check!

TRACK LISTING

Disc: 1
1. Little Orphan Boy (Two Soul Fusion Remix)
2. Little Orphan Boy (Two Soul Fusion Dub)
Disc: 2
1. Little Orphan Boy (Two Soul Fusion Instrumental)
2. Little Orphan Boy (Two Soul Fusion Downtempo Remix)

In association with DJ Amir's 180 Proof Records, BBE Music continues to bring the rarest of music to jazz heads everywhere with its latest Strata gem, Maulawi Nururdin’s Orotunds, a virtually unknown and previously unreleased album. Although there is an element of mystery to almost all jazz musicians, few are ever quite as enigmatic as Maulawi Nururdin. A legendary band leader and reedist to his disciples, information about Maulawi’s personal life and early years is so scarce that even his birth name remains unknown. What is known is that Maulawi was a tougher-than-nails Chicagoan by birth, inescapable mentor to others, and a virtuoso jazz musician unlike any other. The earliest notes in Maulawi’s history begin on the south side of Chicago as a close associate of the Association for the Advancement of Creative Musicians with AACM pioneers Muhal Richard Abrams, Fred Anderson, Billy Brimfield and Roscoe Mitchell. From the beginning, Maulawi was a self assured leader, unafraid to boot other musicians off stage, commandeer their instrument, and give them an impromptu lesson on how to play it right. An intimidating figure in his signature beret and goatee, Maulawi wasn’t a stranger to the streets, and often spent his free time driving around, hipping his protégés to real life on the Chicago south side. But it would be his reputation as a musician, and not a streetwise bandleader, that would bring Maulawi to the doors of Strata Records. “Maulawi could really, really play,” says percussionist Adam Rudolph, who, at 16 years old, began practicing and playing with Maulawi in the early 1970s. It was Rudolph who would introduce Maulawi to Strata’s Charles Moore, a meeting which would lead to Maulawi’s self-titled 1973 debut, the first album recorded by Strata by an artist from outside of Detroit. True to the mysterious nature of Maulawi, even the story behind the recording of Ortunds is in dispute. They were either part of the 1973 sessions for Maulawi, recorded in a single night in Chicago, or from an unmixed session that took place in the Streeterville neighborhood at a later date. History aside, Ortunds never fails to astonish. Composed by Maulawi himself, Ortunds is an album of mostly Pop and R&B songs, all elevated by tip-toe funk tempos and Maulawi’s wildly inventive soprano saxophone. Tracks include Thom Bell and Linda Creed’s “People Make The World Go Round,” as well as the Burt Bacharach and Hal David-penned classic, “I Say A Little Prayer.” The title track is a drum and bass driven showcase, the perfect platform for Maulawi to strut his sublime expressionist style on the Saxophone. The album ends with a real find - a rarely heard spoken recording of Maulawi himself, introducing the players and defining the title Ortunds as “full, clearness, strength and smoothness

TRACK LISTING

Disc: 1
1. Orotunds
2. Maiden Voyage
3. People Make The World Go Round

Disc: 2
1. Unknown Track
2. I Say A Little Prayer (For You)
3. Where Is The Place
4. Maulawi Spoken Outro Edit

Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

TRACK LISTING

1. Face At My Window (Kyoto Jazz Massive Remix)
2. Beyond The Dream (musclecars' Reimagination)
3. Face At My Window (Yoshi's Edit)
4. Beyond The Dream
5. Face At My Window

On the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group.

Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem.

In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

TRACK LISTING

1. We Are The Ones
2. Fire
3. Forever

In association with DJ Amir’s 180 Proof Records, BBE presents another gem from the small yet significant Strata catalogue. A precursor to New York’s Strata East, Detroit’s Strata Records was founded in the late 1960s by former Blue Note artist Kenny Cox. Starting life as a music-led community organisation, coffee shop studio and venue, Strata released only a few titles as a record label, gaining the imprint a cult following among record collectors and jazz lovers across the globe.

Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s ‘Saturday Night Special’ is rightly heralded as a jazz fusion classic. Recorded in 1975, ‘Saturday Night Special’ features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo "Mr. Rhythm" Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. Hinting at more traditional jazz, rhythm & blues, afrocuban styles and more, the uniqueness of this album is surely in its feel: summoning up images of a vast industrial landscape, assembly lines and urban decay. In other words, this record sounds like Detroit.

TRACK LISTING

Side 1
1. Saturday Night Special
2. Belle Isle Daze
3. Saturday Night Special (Alternative Take)
4. Joy Road

Side 2
1. On Your Mind
2. Creative Musicians
3. Help Me Get Away
4. Cheeba
5. Saturday Night Special (Lost Alternate Mix)
6. Allen Barnes
7. Belle Isle Daze (Lost Alternate Mix)

Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz. Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz. Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series. The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming. On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today. This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins. J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

TRACK LISTING

Disc: 1
1. Watarase
2. Sunrise

Disc: 2
1. Hush-A-Bye
2. Exchange
3. Good Bye

A wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980. BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One”.

James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album. Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.

‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers. ‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote. The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.

TRACK LISTING

1. As The Day Grows Tired
2. She's Laughter
3. My Shining
4. Don't I Wish To Be Free
5. Melting Pot
6. Needs
7. Parade
8. Louisiana Fall
9. Hidden Away
10. Just A Wanderer
11. Oregon
12. Forever
13. Bayou Paradise

Like a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths. The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production.

In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, 'the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.'

Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and 'Shoom' and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.

TRACK LISTING

1. Kiriath-Arba
2. Cincinnati Sunrise
3. Shinar
4. Chicago Shift
5. The Oakland Feel
6. Beersheba
7. Pittsburgh Patrol
8. Khmunu
9. Watts Awakening
10. Beth-El
11. Mittani
12. Dayton Daydreams
13. Harlem Homerun
14. Amurru
15. Shechem
16. Baltimore Beatdown

As part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere. Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself. Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings. Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military. A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier-Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster. While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.

TRACK LISTING

Disc: 1
1. Lonely Girl
2. Inside Ourselves
3. Alicia

Disc: 2
1. Where
2. Unknown Track
3. Spitfire

BBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: Son Of Africa, by Remi Kabaka. Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others. As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond. Son Of Africa was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item. It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body. So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.

TRACK LISTING

1. Kabaka
2. New Reggae Funk
3. Sure Thing
4. Future Of A 1000 Years
5. All Black Festival
6. Aqueba Masaaba
7. African Hustle
8. Meteorite
9. Blue Lagos
10. Follow Your Needs

Gather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed "We Are The Children Of The Sun." Andrew Male of MOJO Magazine calls the album "One of the most emotionally uplifting and hazily beautiful compilations of recent years." "Once Again We Are The Children Of The Sun" is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us.

The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, "As the Day Grows Tired" is reissued on vinyl for the first time. Experience the previously unreleased cover of "Milk and Honey" featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of "Kayenta Crossing" by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace's jazz-folk masterpiece "More Than Hope" and the acoustic ambience of "Golden Hour" by Aria Rostami.

Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. "Once Again We Are the Children of the Sun'' is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.

STAFF COMMENTS

Darryl says: Another Paul Hillery compilation, and this one’s the follow up to last year’s impeccable ‘We Are The Children Of Sun’. His legendary crate digging talent shows no sign of drying up with these amazing obscure psych, folk, rock and jazz gems from across the world.

TRACK LISTING

1. As The Day Grows Tired - Will & James Ragar .
2. Crazy Days - Forest
3. Free And Easy - Cunningham Corner
4. More Than Hope - Wendy Grace
5. Tight Tonight - Bengt Liedman
6. Soul Shadow - Corill
7. Come And Take Me By The Hand - Varela
8. Just A Thought - Just Us
9. Time - Mike Baumann & Thom Huntington
10. Write Your Lucky Number - Darrell John
11. Going Back In Time - The Freeze Band
12. Ice Cold - Godspeed
13. Moonshine - Orion
14. Milk And Honey - The Greg Foat Group Feat. Kat Barnard
15. Golden Hour - Aria Rostami
16. Fate (Demo) - Bugatti & Musker
17. Peace Train - Garth Fletcher
18. If Life Was A Ferris Wheel - Mark Capanni

BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour. The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi. Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajima-san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album. The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.

TRACK LISTING

1. Third Plane
2. Kemo-Sabe
3. Moments Notice
4. Beloved Diane
5. Tell Me A Bedtime Story
6. My Love

In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records - The Sound of Detroit - Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint. With a raft of Strata material now entering entering the BBE Music catalogue for the first time, joining together with already-released gems such at the long-lost Charles Mingus live album ‘Jazz In Detroit’, we asked 180 Proof founder and Strata catalogue curator DJ Amir to compile a selection of tracks as an introduction to the uninitiated. Over to DJ Amir to tell us more: I carefully selected my top-choice select tracks that have not been already bootlegged or comp’d in the past; from the well-known fan favourites, to the obscure, to the previously unreleased cuts. This is by no means an exhaustive and comprehensive compilation, but these are the songs that truly represent the catalog and help to tell the story of Strata. I thought it would be fitting to begin the compilation with one of my all-time favourites from the catalog, ‘Beyond the Dream’ by Kenny Cox, a spiritual groover, highlighted with the haunting mellotron strings and soulful vocals from Detroit legend Ursula Walker. And I absolutely love the ending, with the chanting of “Vamonos Que Ya Fiesta Se Acabo” (“It’s time to go because the party is coming to an end”)! When I originally issued the previously unreleased album ‘Mirror, Mirror’ by Sam Sanders in 2013, the track ‘Face At My Window’ that features an unknown vocalist instantly became a fan favourite thanks to its hypnotising vocals and mellotron strings. How could I not include my all-time track from Lyman Woodard, ‘Saturday Night Special’? This track represents the best of that lo-fi jazz funk organ groove and bass combined, again, with those mellotron strings. And after meeting Lyman in 2008, I became even more of a fan! His magnum opus that is ‘Saturday Night Special’ began my journey to re-introducing the world to the Strata label. After a chance discovery of a Strata master with only the letters ‘TJ’ written on the front, I took a chance and digitally transferred the master. Unfortunately, the master was in awful shape, but what I discovered was truly a stunning recording! At first, I thought I was listening to a young Shuggie Otis but then I quickly realised that I was not Maulawi Nururidin, to a few previously unreleased gems from Ursula Walker, Mixed Bag, and the Soulmates, hopefully, you’ll be inspired to dive deeper into the Strata catalog! Enjoy! Amir Abdullah aka DJ Amir All of the original albums from which these tracks were chosen are now available to download or stream wherever you find your music.

TRACK LISTING

Beyond The Dream
Tune For L.N.
Face At My Window
People We Got To Do Better
Noh Word
Joy Road
Time Is Wasting
Root In 7/4 Plus
Salsa Pt. 1
Maiden Voyage
You're The One
Where Is The Place?
Saturday Night Special
Inner City Player
Island Song
All But Blind

Long lost and much sought after Private Press from Western Massachusetts band Forest. A distinctive Acid-Jazz / crossover AOR / Soul sound, think Mother Earth jamming with Tim Buckley. This re-issue comes with 6 previously unreleased tracks. Forest was a rarity at the time in a band that consisted of two drummers, Gary Stevens and Bob "Rox" Girouard . The band was a well seasoned touring band who shared the bill with the likes of The Fabulous Rhinestones, The James Montgomery Band, Zonkaraz to name a few. The album covered various styles from blues to acid-jazz with the aim of securing a major record deal. Many of Forest’s alumni have gone on to highly successful careers in music: Jim Kimball relocated to Nashville to work alongside Faith Hill and Reba McIntyre, Bill Holloman with Danny Gatton, The Gatlin Brothers, Nile Rodgers and Chic, The Fab Faux and Bruce Springsteen, and Wes Talbot founded a music production library called The FRESH Music Library.

TRACK LISTING

1. Findin' My Way Back Home
2. I Can't Live Without You
3. Fly Away
4. Nice Guys And Fools
5. Go On Away
6. Only Who You Know
7. Blue-Eyed Lady
8. Crazy Days
9. Chasing Dreams
10. I Need Love
11. The Long Wait
12. Give It Up
13. Lady Luck
14. Love Ya

BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions. Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original. Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980. Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company. "Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored.

"Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow. The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve. The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down. The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.

TRACK LISTING

1. Forever
2. Bayou Paradise

In the finest tradition of BBE Music’s J Jazz Masterclass Series, we have a real obscurity of quality to savour. Taken from the rare 1978 private press album ‘Introducing’ by the Hideyasu Terakawa Quartet featuring Hiroshi Fujii, this private press gig recording was originally released in less than 100 copies. This BBE Music edition is the first time this very rare album has ever been reissued. Led by saxophonist Hideyasu Terakawa alongside bassist Tetsuo Miura and drummer Aki- hiro "Thunder" Nakaya, the album was recorded live in concert as Terakawa stopped by at the jazz spot DIG in Masuda City, Japan, on the first of a seven-day regional tour in October 1978. Joining the trio was the featured guest, vibist Hiroshi Fujii. According to Fujii, “a special label, Red Horison, released only this one album and it was sold at a few local record stores and available for sale when we played live. After this live recording, I did not perform with Terakawa again.” The current whereabouts of saxophonist Hideyasu Terakawa remain a mystery but we are delighted to be able to present this wonderful album to a new audience. Unlike previous J Jazz Masterclass releases, the album contains no original compositions but rather fascinating interpretations of material by leading American jazz composers such as Wayne Shorter (Black Nile, as featured on J Jazz vol 3), Frank Foster (Simone) and Milt Jackson and Jimmy Heath (Rerev).

TRACK LISTING

Disc: 1
1. Rerev
2. I Remember Clifford
3. Stella By Starlight

Disc: 2
1. Simone
2. Black Nile

12” release of The Lyman Woodard Organisation-penned 'Creative Musicians', reimagined by Jazzanova and featuring remixes by Waajeed and Henrik Schwarz. Originally released as a digital EP from the album 'Strata Records – The Sound of Detroit – Reimagined by Jazzanova', 'Creative Musicians' and its remixes now come to you on deep grooved vinyl. The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron. Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour! Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher! And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization. ‘Strata Records - The Sound of Detroit - Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.

STAFF COMMENTS

Matt says: Jazzanova cover of this The Lyman Woodard Organisation classic plus remixes from Waajeed and Henrik Schwarz. Proving to be quite the undertaking this Strata / Jazzanove project. Get stuck in!

TRACK LISTING

1. Creative Musicians
2. Creative Musicians
3. Creative Musicians (Waajeed Remix)
4. Creative Musicians (Waajeed Remix Instrumental)
5. Creative Musicians (Henrik Schwarz Remix)
6. Creative Musicians (Henrik Schwarz Dub)

The second single to be pulled from upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original. Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’” When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!” Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.” Alongside his Berlin production partners, Re.decay DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.

STAFF COMMENTS

Matt says: Tasty selection of remixes, delving deeper into the already extensive Jazzanova / Strata project.

TRACK LISTING

1. Saturday Night Special (DJ Amir & Re.decay Remix)
2. Saturday Night Special
3. Saturday Night Special (Kai Alce NDATL Remix – Extended Version)
4. Saturday Night Special

Diggers Dozen presents it’s first compilation on BBE Music selected by Japan’s DJ Muro - King Of Diggin'. This exciting new release offers 12 stunning Japanese jazz-funk and latin-jazz gems which fuse Japanese traditional musical instruments and traditional melodies. These recordings were produced during the 70's for Nippon Columbia by master composers and musicians of Japan’s jazz and latin scene, including Kiyoshi Yamaya, Tadaaki Misago & Tokyo Cuban Boys, Kifu Mitsuhashi, Toshiyuki Miyama and more. It's original vinyl releases that these tracks featured on have become scarce and super rare for the Japanese collectors market and now these magnificent tracks are available outside of Japan for the first time on this killer compilation.

The focus and selections made by Muro for this release is a continuation from his Wa Groove Mix “Nippon Breaks” released in 2020. DJ Muro known as King Of Diggin’ rightfully owns this title being one of the world's deepest and most respected collectors of specialist rare records and music related relics. Muro first and foremost is a globally renowned DJ who has made his mark in releasing countless ground breaking mixtapes of various sounds and genres - mainly funk, soul and disco all selected with rare and original pressings. As well as this Muro is widely known for producing, remixing and re-editing many monumental titles and releases, reigning as King in the various fields he prevails.

TRACK LISTING

Vinyl Tracklist
DISC 1
SIDE A
1. Fuke Jobutsu~ Part 1 Tohri (Edited By MURO) – Kiyoshi Yamaya & Contemporary Sound Orchestra
2. Osorezan (Edited By MURO) – Kiyoshi Yamaya & Contemporary Sound Orchestra
3. Souma Nagareyama – Kifu Mitsuhashi, Kiyoshi Yamaya
4. Tabaruzaka – Katsuya Yokoyama, The Million Pops
SIDE B
1. Seijinshiki Aka Adult’s Day – Toshiyuki Miyama & His New Herd
2. Asadoya Yunta – Kifu Mitsuhashi, Kiyoshi Yamaya

DISC 2
SIDE C
1. Nanbu Ushioi Uta – Kifu Mitsuhashi, Kiyoshi Yamaya
2. Saitara Bushi – Kifu Mitsuhashi, Kiyoshi Yamaya
3. Soran Bushi – Tadaaki Misago & Tokyo Cuban Boys
4. Hanagasa Odori – Tadaaki Misago & Tokyo Cuban Boys
SIDE D
1. Sakura Sakura – Tadaaki Misago & Tokyo Cuban Boys
2. Yagi Bushi – Tadaaki Misago & Tokyo Cuban Boys

CD Tracklist
DISC 1
1. Fuke Jobutsu~ Part 1 Tohri (Edited By MURO) – Kiyoshi Yamaya & Contemporary SoundOrchestra
2. Osorezan (Edited By MURO) – Kiyoshi Yamaya & Contemporary Sound Orchestra
3. Souma Nagareyama – Kifu Mitsuhashi, Kiyoshi Yamaya
4. Tabaruzaka – Katsuya Yokoyama, The Million Pops
5. Seijinshiki Aka Adult’s Day – Toshiyuki Miyama & His New Herd
6. Asadoya Yunta – Kifu Mitsuhashi, Kiyoshi Yamaya
7. Nanbu Ushioi Uta – Kifu Mitsuhashi, Kiyoshi Yamaya
8. Saitara Bushi – Kifu Mitsuhashi, Kiyoshi Yamaya
9. Soran Bushi – Tadaaki Misago & Tokyo Cuban Boys
10. Hanagasa Odori – Tadaaki Misago & Tokyo Cuban Boys
11. Sakura Sakura – Tadaaki Misago & Tokyo Cuban Boys
12. Yagi Bushi – Tadaaki Misago & Tokyo Cuban Boys

DISC 2 (Mixed)
1. Fuke Jobutsu~ Part 1 Tohri (Edited By MURO) (Mixed) – Kiyoshi Yamaya & Contemporary
Sound Orchestra
2. Osorezan (Edited By MURO) (Mixed) – Kiyoshi Yamaya & Contemporary Sound Orchestra
3. Souma Nagareyama (Mixed) – Kifu Mitsuhashi, Kiyoshi Yamaya
4. Tabaruzaka (Mixed) – Katsuya Yokoyama, The Million Pops
5. Seijinshiki Aka Adult’s Day (Mixed) – Toshiyuki Miyama & His New Herd
6. Asadoya Yunta (Mixed) – Kifu Mitsuhashi, Kiyoshi Yamaya
7. Nanbu Ushioi Uta (Mixed) – Kifu Mitsuhashi, Kiyoshi Yamaya
8. Saitara Bushi (Mixed) – Kifu Mitsuhashi, Kiyoshi Yamaya
9. Soran Bushi (Mixed) – Tadaaki Misago & Tokyo Cuban Boys
10. Hanagasa Odori (Mixed) – Tadaaki Misago & Tokyo Cuban Boys
11. Sakura Sakura (Mixed) – Tadaaki Misago & Tokyo Cuban Boys
12. Yagi Bushi (Mixed) – Tadaaki Misago & Tokyo Cuban Boys

Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with Planets by Masaru Imada Trio + 1. Originally released in 1977 as a private press album, Planets showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty-plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr. Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer. Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

TRACK LISTING

1. Planets
2. Blue Road
3. A Marionette
4. Sea's Pasture
5. Epilogue

A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno. The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard. Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan. ‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and interview with Yasuhiro Kohno by Tony Higgins.

TRACK LISTING

1. Song Of Island
2. Time For Peace
3. Love For Sale
4. Mr Nilson
5. Village Festival

Unearthed by Mike Peden for BBE Music, Per Husby Septett's ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway's jazz cognoscenti, led by pianist and band leader Per Husby. Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land's modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker. Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.

TRACK LISTING

Disc: 1
1. Introduction To No Particular Song
2. Au Privave / Bloomdido
3. The Masquerade Is Over
4. Nokve
5. Smatta
6. Fantasy In D

Disc: 2
1. The Peacemaker
2. Confirmation
3. Lush Life
4. Adgang F.

Issued on BBE Music, “Reflections” is the new album by London based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective. Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinska puts together a second long player, collaborating with British jazz stars Tony Kofi (Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist Vimala Rowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime (Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).

 Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip Hop.

“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording - it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too. For ‘Reflections’ I tried to break from any stereotypes and limitations - what you hear is my own choice of sounds and influences, taken from the many mixtapes I've been making since I was a teenager. I put together the music I like to listen to when I am happy or sad, when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most - a free spirit, courage, innovation and all the beautiful things life gives us. I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” - Alina Bzhezhinska

Taken from Dilla's 2001 BBE debut solo album "Welcome 2 Detroit", "Big Booty Express" gets the remix treatment from German duo Âme and Parisian Pépé Bradock.

Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger needs little introduction to house music fans but hip-hop heads need not doubt his musical credentials. A natural guitarist and turntablist, he's provided solos, riffage, scratches, juggles and chops to numerous rappers and bands before turning his hand to the discipline of house music. Two remixes done in his inimitable style grace the twelve. Slightly skewhiff but deliciously musical, there's no-one quite does it like Pépé!

Also providing a remix of "Big Booty Express" is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago house and Detroit techno the pair started working together and producing records for Sonar Kollektiv in 2003. Perfectly demonstrating their harmonic discord and big room sound, their remix here is a masterclass of wobbly, peaktime tech-house.

STAFF COMMENTS

Matt says: House remixes of hip-hop legend J Dilla are bound to be divisive. But I'm surprised how well Ame and Bradock have rose to the occasion here - delivering high quality electronic dancefloor hedonism.

TRACK LISTING

1. B.B.E. - Big Booty Express (Âme Remix)
2. B.B.E. - Big Booty Express (Moulin Rouge Remix By Pépé Bradock)
3. B.B.E. - Big Booty Express (Memorex Interlude By Pépé Bradock)
4. B.B.E. - Big Booty Express

Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music. Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge. “You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson

As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few.

The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself. “‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.”

TRACK LISTING

A1. Aint About Me – Watching Tarot Card XVI Come To Life
A2. Dreamcastmoe & Shungu – Don’t Let Me Down
A.3 Iman Houssein – Their Eyes
A4. Qur’an Shaheed – Thrive
B1. Makaya McCraven – Crash Course
B2. CōS – Ayy Thank Full
B3. Trian Kayhatu – OK Dan
B4. Regal86 – Parado En La Esquina
C1. Abrahamblue – Joanna
C2. DJ Spinn – Synthshot
C3. Igor Jadranin – NUB
C4. Shlundee – Acid 2 Acid
D1. LB Aka Labat – Ca Chauffe Tonton
D2. Elisa Bee – A Sun That Never Goes Down
D3. Pippin – Ro

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

TRACK LISTING

Disc: 1
1. Loser
2. Inner City Player
3. Funk'ed UP
4. Face At My Window
Disc: 2
1. Summer Mist
2. Love's Gain

Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music. Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day. When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.” Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson. Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann. And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.

TRACK LISTING

1. C'est Cette Comète
2. All Talk
3. Nomad
4. Force Of Will
5. Little Orphan Boy
6. Path To Macondo
7. Mami Wata
8. Hold On

BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends. A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe. Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985. Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowd-funding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout. Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner. With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.” Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is!

TRACK LISTING

1. Everybody Came To Rock
2. Haunted
3. Interlude "After War"
4. What's The Sense Of War
5. Interlude "Senses"
6. Sunrise
7. Interlude "Record Change"
8. Hey, Where You Goin'
9. Interlude "Westertoren"
10. Ik Hou Veel Van Jou
11. Interlude "Koto"
12. Let Love Flow
13. Interlude "Aqua + Uitro"

BBE Music presents a brand new album celebrating one of Philadelphia soul music’s most iconic figures, Teddy Pendergrass, remixed by pioneering producer and engineer, John Morales. This exploration of 1970s Philly soul at its apex focuses on one of the era’s defining voices, Theodore DeReese Pendergrass. Born in Philadelphia in 1950, Pendergrass sang church music at age two, and was ordained a minister at ten years old. Having learned drums and played in local bands during his teens, at 20 he was hired as a drummer for the Blue Notes by group leader Harold Melvin. After being spotted singing along onstage, he was soon appointed lead singer, and the rest is history… The masterful, revealing remix work of John Morales affords these classic songs improved clarity, allowing each individual player more space to be heard and modernising the recordings without ever losing sight of the original spirit. The virtuoso quality of the songwriting, production, arrangements and performances shine forth anew, and so do some of the music’s subtler qualities and nuanced, sometimes conflicted, subtexts that might have been overlooked in the most conventional view of Pendergrass in his prime. Curated authoritatively, remixed with love and passion, John Morales’ collection revisits our relationship with Teddy’s and Gamble & Huff’s music as compellingly and immersively as when it was new. Teddy’s timeless force resides equally in his talent for portraying truthfully the joys and hurts, beliefs and doubts, blessings and challenges of our lives, and in the bravery of confronting them all with an honesty that is still utterly extraordinary.

TRACK LISTING

Disc: 1
1. The More I Get, The More I Want (John Morales M + M Mix)
2. Only You (John Morales M + M Mix)
3. If You Know Like I Know (John Morales M + M Mix
4. Now Is The Time To Do It (John Morales M + M Mix)
5. The Love I Lost (John Morales M + M Mix)
6. I Don't Love You Anymore (John Morales M + M Mix)
7. Come Go With Me (John Morales M + M Mix)
8. Bad Luck (John Morales M + M Mix)
9. If You Don't Know Me By Now (John Morales M + M Mix)

Disc: 2
1. You Can't Hide From Yourself (John Morales M + M Mix)
2. Where Are All My Friends (John Morales M + M Mix)
3. Life Is A Song Worth Singing (John Morales M + M Mix)
4. Satisfaction Guaranteed (Or Take Your Love Back) (John Morales M + M Mix)
5. Do Me (John Morales M + M Mix)
6. Somebody Told Me (John Morales M + M Mix)
7. Is There A Place For Me (John Morales M + M Mix)
8. Turn Off The Lights (John Morales M + M Mix)
9. Don't Leave Me This Way (John Morales M + M Mix)

Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.

“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”

Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia. A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album. Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020. Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.

“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”

TRACK LISTING

1. A Love Supreme
2. Starchild
3. Afro Blue
4. Azawala
5. Emilia's Pick
6. Naima
7. As We Came Out Of
8. Giant Steps
9. Moment's Notice
10. The Savage Detectives
11. Starchild (Kaidi Tatham Remix)
12. Azawala (Kaidi Tatham Remix)
13. Equinox
14. Impressions
15. Cousin Mary
16. Equinox (Alt Take)
17. Giant Steps Outro

BBE Music welcomes respected UK funk / soul / jazz combo The Fantastics! to the label for ‘Take A Shot featuring Sulene Fleming’, the band’s long awaited third studio album, nine years in the making.

The Fantastics! story begins back in 2003, when keys maestro and Freestyle Records boss Greg Boraman joined London group ‘Reverend Cleatus & The Soul Saviours’. Officially changing their name to The Fantastics! in 2007, in 2009 the ranks were bolstered by the arrival of prodigious UK vocal talent Sulene Fleming in 2009. Only Greg and bassist Raydn Hunter remain from the band’s original line-up, which now features Mark Norton (saxophone / flute) and James Smith (drums). New member James Byron (guitar) brings yet another fresh perspective on the band’s genre-agnostic approach, which takes Afrobeat, Latin, Rock and Rhythm & Blues influences in easy stride. The band have been honing this album at gigs and in the studio for nine long years, during which time singer Sulene Fleming has been busy collaborating with Incognito and Leroy Hutson, as well as enjoying a stint as lead vocalist for The Brand New Heavies. The approach of constantly testing material in a live setting has endowed this record with an indefinable yet distinctive, authentic feel; put simply, it successfully transmits the energy and immediacy of a great concert.

The range of sounds to be heard on ‘Take A Shot’ is ambitious, but it feels pretty effortless. From the library music tinged spacey jazz-fusion of ‘Oblique’ and ‘Better Than Dead’, 'Hey Misters'’s intense Hammond driven, risqué sister-funk, ‘Pyramid'’s touching & serene modal jazz-dance, ‘Say You Will’ with its shimmering, sweet & summery soul-pop, the Betty Davis-esque ‘Can't Decide’ which is a straight up funk-rock monster, the deceptively slinky West Coast smooth ‘Mind Time’ that takes a sharp left when you least expect it, the woozy and tripped out ‘St Tropez Blue’ - and of course the album’s title track ‘Take A Shot’ - not only display the ensemble’s collective and solo abilities, but also frame Sulene’s powerful and versatile voice in a wonderfully wide election of musical settings.

Special mention goes to Mark Ashfield & his youthful sidekick James Nugent, who not only cheerfully put up with The Fantastics! slow and meandering methods, but also engineered, mixed and mastered this album with truly special levels of detail, warmth and musicality.

TRACK LISTING

Disc: 1
1. Say You Will
2. Better Than Dead
3. Take A Shot
4. Pyramid
5. Oblique

Disc: 2
1. St Tropez Blue
2. Can't Decide
3. The Bounce
4. Mind Time
5. Hey Mister!

Following a limited 7” vinyl release of Sun Palace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher. François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now. Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is, anyway) The full, extended version of Moodymann’s remix retains the original jammed feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls!

Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence house and electronic producers through to this day.

STAFF COMMENTS

Matt says:

TRACK LISTING

Side A
1. Rude Movements (Moodyman Remix - Extended Version) (8:28)
2. Rude Movements (Frankie Feliciano Remix) (6:12)

Side B
1. Rude Movements (Kenny Dope Dancefloor Powder Remix) (8:11)

Side C
1. Rude Movements (OPOLOPO Remix - Extended Version) (7:15)
2. Rude Movements (Kenny Dope O'Gutta Remix - Extended Version) (6:37)

Side D
1. Rude Movements (Francois K SATS Dub) (10:10)

Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’. “Teena is somewhat underrated, and people don't really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don't really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.” John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age. Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album 'Starchild'). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’. Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in "The Brockert Initiative", which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.

TRACK LISTING

1 – I Need Your Lovin’ (John Morales M+M Mix)
2 – It Must Be Magic (John Morales M+M Mix)
3 – Aladdin’s Lamp (John Morales M+M Mix)
4 – First Class Love (John Morales M+M Mix)
5 – Now That I Have You (John Morales M+M Mix)
6 – I’m A Sucker For Your Love (Live In Long Beach, Ca 1981: Alternate Mix / John Morales M+M Mix)
7 – Behind The Groove (John Morales M+M Mix)
8 – Love Just Wouldn’t Be Right (John Morales M+M Mix)
9 – Portuguese Love (John Morales M+M Mix)
10 – Chains (John Morales M+M Mix)
11 – 365 (John Morales M+M Mix)
12 – Wasn’t I Good To You (John Morales M+M Mix)
13 – Square Biz (John Morales M+M Mix)
14 – More Love (John Morales M+M Mix)
15 – You Got Away (John Morales M+M Mix)
16 – You’re All The Boogie I Need (John Morales M+ M Mix)
17 – Lonely Desire (John Morales M+ M Mix)
18 – Fire And Desire (John Morales M+M Mix)

BBE Music announces a special 20th Anniversary edition of one of the most important records in the label’s history: J Dilla’s Welcome 2 Detroit, presented in a deluxe 7” vinyl box set boasting instrumentals, two brand new interpretations by Azymuth and Muro, a stash of previously unreleased alternative mixes and studio outtakes pressed over 12 discs, plus a book revealing the album’s hidden story, told by those who were there. First issued by BBE Music on Monday 26th of February 2001, Welcome 2 Detroit was James Dewitt Yancey aka Jay Dee’s first solo outing and the debut appearance of his new ‘J Dilla’ moniker (bestowed on him by none other than Busta Rhymes). The album also inaugurated the producer-led Beat Generation album series, which would later spawn classic LPs by DJ Jazzy Jeff, Pete Rock, DJ Spinna, Marley Marl and even will.i.am, all of whom had been inspired to reach for new creative heights by hearing Dilla’s magnum opus. Choosing to showcase his own voice and the voices of local rap-heroes from across the city instead of big stars, Welcome 2 Detroit marked a coming of age for the then 27 year-old producer, who fully embraced the creative-freedom offered by BBE for his first solo project. As Dilla tells it: “Peter (Adarkwah, founder of BBE) let me do whatever I wanted to do. So, I wanted to put people on there who are gonna spit y’know, lyrically and represent Detroit. Because I wouldn’t have been able to pull this album off if it came out under a major. Cos they’re not gonna let you just do a song or you can’t just do an instrumental. You gotta have this feature and you’re Jay Dee, why ain’t you got Erykah Badu? Why ain’t you got so and so on your album? I’d have had to go through all of that, instead of just putting out…y’know, Beej on this joint!” The album would prove to be the perfect distillation of Dilla’s Detroit. From Kraftwerk-inspired Tech Noir that would make Metroplex proud, through subtle echoes from Africa, live jazz-funk and bossa-nova grooves, to tough Midwest boom-bap, this record somehow showed reverence to the city’s past without ever leaving its present. Grimy street flows that somehow swayed like James Brown. Unquantized marvels, so free and alive in their bounce, that they could seduce the hardest of hard-rocks into the sweetest screwface! Diverse, multifaceted, super collaborative and yet somehow singular, Welcome 2 Detroit was the shy and humble James Yancey revealing his true self in the only way he knew how: through his music. “The numerous guest appearances from some of the city’s best MCs at the time — Beej, Big Tone, Elzhi, Frank N Dank, Phat Kat — added to the album’s immersive experience, offering listeners a taste of Detroit in a way that only Jay Dee could do." – Okayplayer To mark the 20th Anniversary of this momentous record, BBE Music is issuing a specially remastered edition of Welcome 2 Detroit, featuring a stunning new remix of ‘Think Twice’ by Japanese DJ/producer Muro and a stellar cover version of ‘Rico Suave Bossa Nova’ by legendary Brazilian jazz-funk juggernauts Azymuth, plus a stash of newly discovered alternate versions and work-in-progress recordings from the album sessions, lovingly reproduced from priceless cassette tapes recorded by J Dilla himself. An accompanying book by British writer and filmmaker John Vanderpuije offers an oral history of the album’s making, as told by Amp Fiddler, Ma Dukes and all of the album’s key musical contributors. The deluxe 7” vinyl box set and digital album will be released on February 5th 2021 during the annual #DillaMonth celebration, as close to the great man’s birthday as possible and will be available to pre-order from the BBE website and Bandcamp from November 3rd 2020. “I’m real happy that Welcome 2 Detroit was done by BBE. Because I don’t think another label would have helped him embrace his full creativity and given him the control to make it a piece of who he was! Because of BBE he was able to pour more of himself into it, into every bit of music on this album. His spirit lives in Welcome 2 Detroit. It’s him! Alive and thriving in every song!” – Ma Dukes

TRACK LISTING

Disc: 1
1. Y’all Ain’t Ready (Instrumental)
2. Y’all Ain’t Ready
3. Think Twice (faded)
4. Think Twice (Instrumental - Faded

Disc: 2
1. The Clapper Feat. Blu
2. The Clapper (Instrumental)
3. Shake It Down (Instrumental)
4. Shake It Down

Disc: 3
1. Come Get It (Instrumental - Edit)
2. Come Get It Feat. Elzhi (edit)

Disc: 4
1. Pause Feat Frank 'n' Dank
2. Pause (Instrumental)
3. B.B.E. - Big Booty Express (Instrumental)
4. B.B.E. - Big Booty Express

Disc: 5
1. Beej-N-Dem Pt.2 (Instrumental)
2. Beej-N-Dem Pt.2 Feat. Beej

Disc: 6
1. Brazilian Groove EWF (Instrumental)
2. Brazilian Groove
3. It’s Like That (Edit) Feat. Hodge Podge, Lacks
4. It's Like That (Instrumental)

Disc: 7
1. Give It Up (Instrumental)
2. Give It Up

Disc: 8
1. Rico Suave Bossa Nova
2. Azymuth – Rico Suave Bossa Nova (Vinyl Edit)

Disc: 9
1. Feat. Phat Kat (Instrumental)
2. Feat. Phat Kat

Disc: 10
1. African Rhythms (Instrumental)
2. African Rhythms
3. One (Instrumental)
4. One

Disc: 11
1. It’s Like That (Alternate Version)
2. African Rhythms (No Drums)
3. Brazilian Groove EWF (No Drums, No Vocal)
4. Beej-N-Dem (og) Feat. Beej
5. Give It Up (Acapella)

Disc: 12
1. Think Twice (DJ Muro's KG Mix)
2. Think Twice (DJ Muro's KG Mix Instrumental)

BBE Music presents the seventh release in its highly acclaimed J Jazz Master Class Series: ‘Evolution’ by Shintaro Quintet. Recorded in 1984 and originally released on the private label Streetnoise Records, ‘Evolution’ is a perfect example of stately modal jazz with every one of its five tracks composed by band leader and bassist, Shintaro Nakamura. A cut from the album, ‘A Blind Man’, was included on the BBE Music compilation ‘J Jazz – Deep Modern Jazz from Japan 1969-1984’, and it’s a track that’s indicative of the album’s graceful blend of spiritual jazz and gently swinging minor blues waltzes, a style favoured by Nakamura that allows the band to stretch out and explore the strong melodic themes, lush arrangements and seductive rhythms. Recorded in New York, ‘Evolution’ features the great Japanese trumpet player Shunzo Ohno alongside a mixed Japanese-American band: pianist Jeff Jenkins, who brings a touch of McCoy Tyner’s percussive blues to the album, has worked with many jazz greats including Freddie Hubbard, Eddie Harris and Clark Terry; US-born Saxophonist Bob Kenmotsu, one-time member of Jack McDuff’s band has also recorded and performed with jazz guitarist Pat Martino; and drummer Fukushi Tainaka, who studied under Philly Joe Jones, completes the solid rhythm section with Nakamura and Jenkins. ‘Evolution’ is reissued as a double 45rpm 180g LP, cut by the Grammy-nominated Carvery Studio. The BBE Music edition features exact reproductions of the original artwork and super-rare diagonal obi strip. It also comes with the original notes fully translated plus a new extended essay and interview with band members by Tony Higgins. ‘Evolution’ is also available as a CD and across digital formats. The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material, presented in the highest quality reproductions of the original releases, fully licensed and authorised by the artists and labels.

TRACK LISTING

1. Future On You
2. Don't Forget Me
3. Sweet And Sour Sound
4. Evolution
5. A Blind Man

Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa. Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi-faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa. From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable. All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self-financed indie label with an equally tiny promo budget: that’s what great jazz is all about.

STAFF COMMENTS

Patrick says: All my spiritual jazz customers went crazy when High Jazz reissued 'Gida Gida' and 'Ebun' over the last few years, and with good reason - the soulful and dynamic fusion sounds of Ambiance are practically unrivalled. This time it's Zaf whose handled the digging, encouraging BBE to give the group's fourth LP a lavish reissue. Higher listening folks.

TRACK LISTING

1. The Arrival
2. The Black Narcissus
3. Something Better
4. Into A New Journey
5. Eastwind
6. 500 Miles High
7. Windows

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’.

TRACK LISTING

Disc 1:
1. Oh What A Lonely Feeling
2. Boogie Down
3. What's The T?
4. Sugar
5. Mystery Of Love
6. I Really Love You

Disc: 2
1. Mystic Voyage (Version)
2. Green And Gold
3. I Just Wanna Give It Up
4. Brand New Feeling
5. Together Forever
6. I Did It In Seattle
7. I Am Your Mind

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’.

TRACK LISTING

Disc: 1
1. Holiday
2. Funk In The Hole
3. Liquid Love
4. I Am Your Mind (Part 2)

Disc: 2
1. Third Time
2. I Like The Way You Do It To Me
3. Tarzan
4. Come To Me

Disc: 3
1. Touch Of Class
2. Kwajilori
3. Wide Open
4. Release Yourself
5. Sunshine (Demo)

Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26. Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance. A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City. The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.

“This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26

TRACK LISTING

1. Venus & Mars (Jamie 3:26 Edit)
2. The Lesson (Doc Brucio's Original Mix – Jamie 3:26 Edit)
3. The Jungle (Jamie's Jungle Sounds Edit)
4. Mind Games (Underground Mix – Jamie 3:26 Edit)
5. Stomps & Shouts (Jamie 3:26 Basement Edit)
6. It's House (Jamie's Basement Edit)
7. Comin' On Strong (Jamie 3:26 Edit)

This is the sixth release in BBE's acclaimed J Jazz Masterclass Series. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon. Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this. The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.

TRACK LISTING

1. Carole's Garden
2. Soultrane
3. Turquoise Twice
4. Little B's Poem
5. Stop Over

Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound. Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London. The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland. LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect. Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata. 

STAFF COMMENTS

Sil says: More jazzy than my usual preferences; this great compilation has got me shacking my arse in ways not previously known! Someone put me on a dancefloor!

TRACK LISTING

SIDE A
1. How Bad I Want Ya (GU Peak True Time Mix) – Stacy Kidd Feat. Peven Everett
SIDE B
1. Children Of The World (Ben Brophy Edit) – The Elements Of Life Feat. Josh Milan
SIDE C
1. Gwotet (Alex Attias Edit) – David Murray & The Gwo-Ka Masters Feat. Pharoah Sanders
2. Freedom Flight – Mausiki Scales (Alex Attias LillyGood Party Edit)
SIDE D
1. Open Up Your Mind (Honeycomb Vocal Mix) – Universal Tongues Feat. Elle
2. Star Child Going Home – MJ Lallo

Former member of A Forest Mighty Black and founder of Trüby Trio, Rainer Trüby presents his new compilation, Soulgliding, released on BBE Music. Starting life as a group on Facebook, ‘Soulgliding’ is a phrase coined by Rainer Trueby to describe the more languid, smoother side of 2-Step, Boogie, Modern Soul and even Jazz. This silky collection spans several decades and sums up what Soulgliding is all about: evocative airy music that feels like a dream-flight across a friendly sky. Or, as Patrick Forge puts it in his wonderful sleeve notes… “Soulgliding..... It’s all in that word, a stroke of genius, no explanation needed, I knew what it was about before I even read the rules. Anyway there was only one rule that really mattered, the speed limit, nothing beyond 110bpm. What I didn’t know when Rainer first convened the eponymous Facebook group was just how addictive it would be. Several months of sharing, liking, commenting, loving and frantic dives into Discogs later, and Soulgliding has become a thing. A genre? Well, almost. This selection lovingly compiled by Rainer himself goes a long way to solidify the notion and stake a claim on the territory. This set of gliders has all the elements; from the slow (enough!) boogie of Crystal Winds, to the jazzy excursions courtesy of Ambiance and Les Hooper, and a clutch of tunes that are closer to the original 2-Step blueprint from Demo Cates, Bridge, Cloud One and Donna McGhee. Then there are the eighties drum machine grooves of Patrice Rushen and Fifth Of Heaven and the ethereal beatless magic of Peter Brown’s “Without Love”. A selection that manages to amalgamate plenty of obscurities without losing the essence, a selection which shimmers, soothes, inspires……glides.” 

TRACK LISTING

Vinyl Track Listing:
A1 Ray & James: Nature Boy
A2 Crystal Winds: Lovers Holiday
A3 Cast: Sweetness
B1 Mellaa: Makin´Love In The Fast Lane
B2 Patrice Rushen: To Each His Own
B3 Les Hooper: Lady Of The Night
C1 Fifth Of Heaven: Just A Little More
C2 Bridge: Next To Me
C3 Ambiance: Camouflage
D1 Demo Cates: Memories Of Memories
D2 Donna McGhee: It Ain´t No Big Thing
D3 Peter Brown: Without Love
D4 Cloud One: Dust To Dust

The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’. In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold. Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’. The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene. Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, a music journalist and researcher based in Beirut, edited by Will Sumsuch.

TRACK LISTING

1. Girls Of Iskandariah
2. Night Entertainer
3. The Joy Of Lina
4. Dance Of Tenderness
5. Jamileh
6. A New Candle
7. Once A Year
8. A Flower Of My Imagination
9. A Night At The Station
10. Love Of Laura

UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’. Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named. Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz. As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut's Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”. ‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat.

TRACK LISTING

Disc: 1
1. Emnete (Live)
2. Boogie Stop Shuffle
3. Mambo De La Pinta
4. 4Beat Cha ChaCha
5. Yatra-Ta

Disc: 2
1. Koumba Fri Fri
2. African Mailman
3. Zombie
4. Foot In The Door
5. Sorrow, Tears And Blood
6. Smells Like Teen Spirit
7. Tribute ToMulatu

For BBE Music’s landmark 500th release, the label joins forces with Louie Vega, Leroy Burgess and Patrick Adams to revisit "Barely Breaking Even", the iconic track after which the label is named. Coaxed into the studio together by BBE founder Peter Adarkwah, Grammy winning House music hero Louie Vega, arranger extraordinaire and New York disco royalty Patrick Adams, plus the song’s original writer (and king of boogie) Leroy Burgess soon got to work. Even given the caliber of those involved in this special session, the results are simply exceptional. Featuring live strings by The Apple Hill String Quartet arranged by Adams and Burgess, Vega’s ‘Boogie Mix’ stays faithful to the Universal Robot Band original, with potent vocal performances and a tough new groove for 2019. It was at the string recording session for the boogie version that Louie Vega unveiled his 'NYC House Mix' to the assembled musicians, at which point he and Leroy Burgess quickly arranged a brand new horn section and re-wrote the song’s melody to compliment the track’s accelerated pace. What the team emerged with is so much more than a remix- it’s a unified call-back to two golden eras; that of disco-boogie and that of New York House. And it’s beautiful.

TRACK LISTING

Disc: 1
1. Barely Breaking Even (Louie Vega NYC House Remix (Instrumental))
2. Barely Breaking Even (Louie Vega Boogie Mix)

Disc: 2
1. Barely Breaking Even (Louie Vega NYC House Remix)
2. Barely Breaking Even (Louie Vega Boogie Mix (Instrumental))

BBE Music presents the fourth release in their acclaimed J Jazz Masterclass Series: "Topology" by Makoto Terashita and Harold Land. Originally released in 1983 on the cult Aketa’s Disk label, Topology captures a surprising yet fascinating and engaging collaboration between a young Japanese jazz pianist and an elder American statesman of jazz. Reissued by BBE Music for the first time since original release 36 years ago, "Topology" showcases the extraordinary compositional and playing skill of Makoto Terashita, the young pianist responsible for five of the album’s six tracks, alongside the confident and seasoned tones of Harold Land, respected US veteran sax player and former colleague of some of the leading jazz artists of the 50s, 60s and 70s including Max Roach, Clifford Brown, Gerald Wilson and Bobby Hutcherson. By the time he came to record with Terashita in 1983, Land was in his mid-50s and had numerous album credits under his belt, including some twelve albums as leader. In contrast, Terashita was in his early 30s with just one album to his name, his stunning 1978 debut "Great Harvest". Notwithstanding the apparent disparity in experience, the creative relationship they fostered is audibly evident in the wonderful music that was captured during the recording session. "Topology2 kicks off with ‘Dragon Dance’, an epic spiritual jazz tour de force elegantly ushered in by an extended solo piano introduction from Terashita. This track was chosen to open volume 2 of BBE’s universally praised ‘J Jazz’ compilation. The energy and impact of tracks like ‘Dragon Dance’ and the powerful bop of ‘Crossing’- both Terashitsa-penned numbers - is balanced by more nuanced and reflective tracks like Land’s own composition ‘World Peace’. In total, "Topology" presents the listener with a complete experience of two musicians from different generations and countries united in musical spirit. A long out of print rarity known only to a handful of Japanese jazz collectors, "Topology" is now available once more, reissued for the first time as a 45rpm double 180g LP, featuring exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated plus a new extended 3700 word essay by Tony Higgins.

TRACK LISTING

1. Dragon Dance
2. World Peace
3. Dear Friends
4. Takeuma
5. I-Ha-To-Bo
6. Crossing

BBE Music unearth ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor. If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound. In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour. But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years. Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked. Yes, replied Peter- but WHAT unissued material? Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others. Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.

TRACK LISTING

1. Palaver
2. Make You No Mind
3. Abebrese
4. Help Africa
5. Nyame Dadaw

"Earthly Delights" is a forgotten 1978 free-jazz masterpiece by bass player, composer and improviser David Wertman, alongside his Sun Ensemble. Born in 1952 and raised in Queens NY, Wertman’s distinctive upright playing style was entirely self-taught. He cut his teeth in the notorious New York Jazz lofts, jamming for hours and hours with the likes of Billy Bang, Arthur Blythe, Marion Brown, Steve Reid, Dave Pike, William Parker, Brandon Ross and Charles Tyler to name but a few.

"Earthly Delights" is the first recording by the Sun Ensemble band and features the original line-up of Greg Wall (Baritone Saxophone), Jay Conway (Drums), John Sprague Jr. (Flute and Percussion), David Swerdlove (Soprano/Alto Saxophone), and John Zieman (Synthesizer). John Sprague Jr. financed and produced the album, releasing it on his own label Sweet Earth Records, a short-lived but bountiful imprint, perhaps best known for issuing Sun Ra And His Arkestra’s 1979 album “The Other Side Of The Sun”. "Earthly Delights" is perhaps best described as loosely composed, or highly improvised, depending on where you stand on such subjective matters. Containing just 4 compositions, "Earthly Delights" explores man’s relationship with nature; at times subtle and delicate, at times wide and sweeping in its gestures. The record’s spiritual message is conveyed by heartfelt, virtuoso performances from all six players, drifting together seamlessly from one sonic wave to the next.

A highly sought-after spiritual jazz album from 1976. Passing away in 2013, David Wertman was a hugely respected upright bass player who worked closely with Dr. Lonnie Smith, Billy Bang & Arthur Blythe throughout his long career. Original artwork, plus brand new liner notes written by Will Sumsuch (5 Mag) with original photographs and poetry supplied by his widow Lynne Meryl.

TRACK LISTING

Disc: 1
1. Relations
2. Earthly Delights

Disc: 2
1. Oh John Love Trane
2. Clear Air Dancer

This is the first ever reissue of Roy Ayers' 1983 album 'Silver Vibrations'. Originally released in the UK only on Uno Melodic Records, 'Silver Vibrations' shares some of its musical DNA with 'Lots Of Love', Ayers' US album from the same year. However, 'Silver Vibrations' contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song 'Chicago'. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP. 'Silver Vibrations' was perhaps the last album to retain the sound of Ayers' organic 'classic' period of the latter '70s and manages to stand up well under its current re-evaluation. "Chicago", the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since; its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky "Good, Good Music" echoes Ayers at his pre-'80s, up-tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track "Silver Vibrations" was only ever released in the U.K., both on this album and as a single, backed with "Fast Money". Both "Lots Of Love" and "Keep On Movin'" hark back to previous times and are a pleasant listen without being at all taxing. "Smiling With Our Eyes" is mid-tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful "D.C. City", a close companion of Ubiquity's original recording of "The Third Eye" is, in many ways, quintessentially Roy Ayers. 

STAFF COMMENTS

David says: Overdue reissue of this Roy classic. Worth buying purely for 'Chicago'. One of his finest moments it's been sampled and re-edited more times than his lawyers can count.

TRACK LISTING

1. Chicago
2. Lots Of Love
3. Keep On Movin'
4. Silver Vibrations
5. Smiling With Our Eyes
6. D.C. City
7. Good Good Music

BBE bring us the next instalment in their J Jazz Masterclass Series: ‘East Plants’ by Takeo Moriyama, one of Japan’s finest jazz drummers. A genuine ‘under the radar’ album known only to a handful of Japanese jazz collectors, ‘East Plants’ is now available once more, reissued for the first time as a double 180g LP, with exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated. ‘

Originally released in 1983 on the Japanese VAP label, ‘East Plants’ is an essential album in the J Jazz canon. It’s an album that distils several key characteristics of Moriyama’s music: clearly articulated and inventive rhythms, open yet orderly arrangements, and an accessible groove balanced with a graceful control.

‘East Plants’ features no piano, just percussion, bass and reeds. From the luxurious raga-like build of the album’s hypnotic title track and the fierce post-bop workout of ‘Fields’, to the stately modal track ‘Kaze’ ( as featured on the sell-out BBE compilation, ‘J Jazz: Deep Modern Jazz From Japan 1968-1984’), the album was, until now, a rarely acknowledged masterpiece. ‘East Plants’ shows Moriyama’s quintet at their most transcendent: delicate layers of percussion by Yoji Sadanari, a warm and pliant bass from Hideki Mochizuki, with colour and texture provided by the eloquent reed work of Shuichi Enomoto and Toshiko Inoue. And, overseeing it all, Moriyama’s discreet yet commanding drumming.

The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series will feature rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.

TRACK LISTING

1. East Plants
2. 竹 (Take)
3. かげろう(Kagelou)
4. 風 (Kaze)
5. Fields
6. 遠く(Tooku)

Following hard on the heels of BBE delving into the archives of Detroit’s Strata Records and delivering their widely acclaimed and hugely in-demand exploration of J-Jazz, comes another crate digger’s delight- Ralph Thomas’ ‘Eastern Standard Time’, which dropped the USA back in 1980, on the obscure Zebra Jazz imprint. The self-produced ‘Eastern Standard Time’ features Thomas on baritone, alto and tenor saxophones as well as flute and percussion. He describes himself as a practicing ethnomusicologist whose musical vision evolved during the Sixties and it’s Thomas’ multifaceted, global approach that gives the music on Eastern Standard Time’ an engaging and distinct flavour.
In 1974, he moved to Los Angeles and was employed as a session player with both 20th Century Fox and Motown – where he recorded with Marvin Gaye, Jermaine Jackson, Smokey Robinson and Rick James. In the early Eighties he was working for Quincy Jones Productions appearing on the soundtrack of Roots and The Color Purple but a passion for reggae music led him to Jamaica where he recorded with producer Jack Ruby and artists like Augustus Pablo and Gregory Isaacs. In ’86 he moved to NYC where he collaborated with Boogaloo legend Johnny Colon and played with like-minded musical explorers Sun Ra, Don Cherry and Olatunji. However, by 1993 his restless spirit carried him to Paris where studied Ethnomusicology and performed with trumpeter Mra Oma and film-maker Ranaivo-Rajaona Hery. There were also gigs with percussionist Trilok Gurtu as well as drummer Sunny Murray and saxophone legend Archie Shepp. Upon moving to the South of France Thomas ran an art gallery and initiated his MusArt project – which has since toured in the US, Canada and Japan.

STAFF COMMENTS

Millie says: Immerse your soul with some beautiful Jazz provided by Ralph Thomas, loud and impacting, I’m very glad this album has been reissued for all to hear.

TRACK LISTING

1. Cafe Phillipp
2. Doloreso
3. Muscavado
4. Big Spliff
5. Venice
6. E.S.T.
7. Spellbound

The desire to discover and delve into new and unexplored areas of music has turned attention on the Japanese jazz scene of the 1970s, often regarded as its gilded age. The recent groundbreaking sell-out BBE compilation J Jazz: Deep Modern Jazz from Japan 1969-1984 threw much needed light on this fascinating era and presented a range of artists and music that surprised and delighted all who heard it. A key track on the compilation was one of the rarest and least known: Dead Letter by the Tohru Aizawa Quartet, taken from an album that was so elusive, some pondered whether it even existed.

The album, Tachibana, was recored in 1975 and, until included on the J Jazz compilation, was unknown except to a small group of obsessive Japanese jazz collectors. The privately pressed record was the only album made by the Quartet, four amateur musicians who were university students at the time. The session was financed by a local businessman, Ikujiroh Tachibana, who pressed up a few hundred copies to use as a business card. In the intervening 40 odd years since its recording, few copies have surfaced, making it an in-demand yet elusive artefact from the golden age of Japanese jazz. BBE Records are honoured to present a fully authorised reissue of this holy grail, licensed directly from the band themselves.

Tachibana has all the necessary components of a cult album: pressed in small numbers, a few mysterious and vague details about its origins, languishing in obscurity for decades and, above all, superb musical craftsmanship and skill. It can now be enjoyed by a new audience around the world.

The album opens with the dynamic percussion workout Philosopher’s Stone written by the then law-student and drummer Tetsuya Morimura. It propels along with the band at full pelt, showcasing Morimura’s well-developed drumming style. For a teenage amateur player to compose and perform such an accomplished and impressive piece is a testament to the talent that the band contained. Philosopher’s Stone is followed by Sacrament, an epic modal composition by saxophonist Kiyochiro Morimura that fans of Wayne Shorter, Pharaoh Sanders and late-era John Coltrane will appreciate. After an extended intro the band drop into a heavy, churning groove, Morimura’s saxophone scorching above the volcanic rhythm section. Dead Letter, written by Aizawa himself, is an epic piano led symphony of spiritual jazz. Think McCoy Tyner at his imperial finest and you’ll get a favour: impact, emotion and power all suffuse to create a overwhelming experience. Amazingly, this is still the only Aizawa composition yet to be recorded.

The Tachibana album also includes two cover versions, both Latin favoured numbers delivered with élan and brio: La Fiesta by Chick Corea and the classic Samba de Orfeu by Luiz Bonfá. So, just five tracks in total, the sole existing evidence of an astonishing band, the Tohru Aizawa Quartet.

The long-awaited reissue of this mythic album includes new liner notes and photos, plus fully translated notes from the original Japanese text. The album will be presented in an authentic thick card gatefold sleeve in a faithful reproduction of the original sleeve design.

STAFF COMMENTS

Patrick says: THE holy grail of Japanese jazz gets a much needed reissue here thanks to BBE. Originally pressed in such small numbers, it was thought to be a myth, "Tachibana" swerves, slides and pirouettes through modal, spiritual and latin styles, capturing an energy and expression few have matched.

TRACK LISTING

A1. Philosopher's Stone
B1. Sacrament
C1. La Fiesta
D1. Dead Letter
D2. Samba De Orfeu

In the years following the World War Two, Japan developed one of the most insatiable, dynamic and diverse markets for jazz. For a crucial period of little over a decade - from the late 1960s to the early 1980s - Japanese jazz culture progressed at an astonishing rate, producing an extraordinary array of artists, recordings and record labels that created some of the most forward thinking and impressive jazz to be committed to tape. This amazing journey is explored on ‘J Jazz’. This compilation from BBE uncovers some of the most sought after and rare material from this period and pulls together key artists who shaped the postwar modern jazz scene in Japan.

‘J Jazz' includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.

None of the tracks featured on ‘J Jazz’ have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector’s circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny’s Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy.

Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, ’J Jazz’ brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.

TRACK LISTING

CD
1. Koichi Matsukaze Trio - Earth Mother
2. Tohru Aizawa Quartet - Dead Letter
3. Eiji Nakayama - Aya’s Samba
4. Takao Uematsu - White Fire
5. Shintaro Quintet - A Blind Man
6. Mitsuaki Katayama - Unknown Point
7. Takeo Moriyama - Kaze
8. Fumio Karashima - Little Island
9. Kiyoshi Sugimoto - Long Neal

LP
A1. Koichi Matsukaze Trio - Earth Mother
A2. Takeo Moriyama Quartet With Shigeharu Mukai - North Wind*
B1. Tohru Aizawa Quartet - Dead Letter
B2. Eiji Nakayama - Aya’s Samba
C1. Takao Uematsu - White Fire
C2. George Otsuka Quintet - Sea Breeze*
D1. Shintaro Quintet - A Blind Man
D2. Mitsuaki Katayama - Unknown Point
E1. Fumio Karashima - Little Island
E2. Kiyoshi Sugimoto - Long Neal
F1. Takeo Moriyama - Kaze
F2. Terumasa Hino Meets Reggie Workman - Ode To Workman*

Ernesto Chahoud’s "Taitu" is a collection of soul-fuelled stompers straight from the dancefloors of 1970s Addis Ababa. A breathless journey through the unique Ethio sound that bands were forging at the time, the 24 track compilation is the result of the Lebanese DJ and crate digger’s decade long love affair with the ‘golden age’ of Ethiopian music. Among the musical gems featured are 7”s by some of the heavyweights of the scene including the godfather of Ethio jazz Mulatu Astatke and Alemayehu Eshete, the vocalist dubbed the ‘Ethiopian Elvis’, alongside tracks by more obscure artists such as Merawi Yohannis and Birkineh Wurga.

For ‘Taitu’, Chahoud has selected 24 of his essential Ethio-Soul 7”s, that never leave his DJ box, and together they capture this opportune moment in Ethiopian music history that saw bands experiment with an armful of influences: gliding through R&B, rock & roll, jazz, funk, soul and boogaloo. What came out was a distinctly Ethiopian interpretation: pentatonic scales, horn-driven melodies and soul-shattering vocals sung in Amharic. The songs are difficult to box in to one genre but they share a simplicity and rawness, added to by their lo-fi quality - with many recordings made in rudimentary studios with only a couple of mics for the entire band.

From the R&B stomper ‘Honey Baby’ by Alemayehu Eshete to Astatke’s swaggering ethnic-jazz instrumental ‘Emnete’ and the bluesy melancholic vocals of Hirut Bekele on ‘Ewnetegna Feker’, ‘Taitu’ is a window in on the exciting records being made in Ethiopia in the 1970s and comes fully endorsed by us here at Picc HQ. 

TRACK LISTING

Ethiopian Stompers
1. Menelik Wossenatchew – Fikratchin*
2. Mulatu Astatke – Emnete
3. Teshome Meteku - Hasabe
4. Birkineh Wurga – Alkedashim
5. Selomon Shibeshi – Endiet Zenegashiw
6. Alemayehu Eshete – Chiro Adarie Negne
7. Hirut Bekele – Ewnetegna Feker
8. Bezunesh Bekele – Felagote
9. Alemayehu Eshete – Mekeyershene Salawke
10. Tilahun Gessesse – Aykedashim Libe
11. Merawi Yohannis – Teleyeshign
12. Hirut Bekele & Alemayehu Eshete – Temelese
13. Alemayehu Eshete – Honey Baby*

Ethiopian Clappers And More
1. Seifu Yohannes – Ebo Lala
2. Bezunesh Bekele – Aha Gedawo
3. Alemayehu Borobor – Yeshebelewa
4. Seifu Yohannes – Mela Mela
5. Tilahun Gessesse – Sigibgib Joroye
6. Alemayehu Eshete – Gizew Honeshyna
7. Bahta G. Hiwot – Tessassategn Eko*
8. Getatchew Kassa – Fikrishin Eshaleyu
9. Hirut Bekele – Almokerkum Nebere
10. Muluken Melesse – Alagegnhwatem
11. Menelik Wossenachew – Tezeta
12. Tamrat Molla - Ene Yewodedquat *vinyl Only

Announced in late 2016 with the single ‘All Because Of You’, described as “a future classic” (CJ Mackintosh) and “absolutely necessary” (Soul Clap), BBE are proud to present Kiko Navarro’s brand new solo album ‘Everything Happens For A Reason’. A highly respected artist for many years now, Kiko Navarro is a name synonymous with the Balearic House sound, thanks to his residencies at Space & Pacha as well as his countless productions and remixes.

‘Everything Happens For A Reason’ displays a dizzying array of musical flavours, with guest appearances from DJ Spen, Boris Dlugosch and multi-instrumentalist Gabriele Poso, whose compilation ‘The Language Of Tambores’ is coming soon on BBE. Within a framework of warm, soulful House music, Kiko explores afro-latin rhythms, broken beats, nu-jazz and straight up Chicago-inspired acid. A deep re-imagining of Maze & Frankie Beverly’s 80s classic ‘Twilight’, irrepressible floor-filler ‘I Can Show You The Way’ and a new orchestral version of 2007 classic ‘Soñando Contigo’ are among the immediate highlights, but this album is so much more than the sum of its parts. ‘Everything Happens For A Reason’ sees iko Navarro concentrating his wealth of experience curating and creating music into a highly potent and deeply personal soundtrack to his life and career so far.

TRACK LISTING

1. All Because Of You Feat. Julie McKnight
2. Twilight
3. Right On Feat. HanLei
4. I Can Show You The Way
5. What We Need Feat. Dj Spen & Dana Weaver
6. Black Is Back Feat. Boris Dlugosch
7. Everything Happens For A Reason Feat. Isis "Apache" Montero
8. Lo Siento Feat. Concha Buika
9. La Cosa
10. Ohashiah
11. Twi-Reprise
12. Cranc
13. Humanity Feat. D7
14. Soñando Contigo Feat. Concha Buika (Orchestral Version)
15. Painful Goodbye Feat. Paco Colombas & Gabriele Poso
16. Adolescence (Outro)

BBE are back with another essential reissue, putting this ultra-rare LP from Ted Coleman back in press for the first time since 1980. Heavily influenced by the likes of Bobby Hutcherson and Roy Ayers, "Taking Care Of Business" is full of positive, uptempo soul/jazz gems, featuring Ted Coleman's wonderful vibraphone playing throughout. Not only did Coleman both sing and play piano, synth and vibes on the record, but he also designed the artwork himself; a true DIY LP if ever there was one! This DIY ethos even extended to the New Jersey label JSR who originally pressed the LP, describing themselves as: "a new company that helps working club bands that can sell their own records. JSR artists spend no money for recording or production costs, and there are no recording contracts." This could well explain the album's rarity, with original copies selling on Discogs for eye-wateringly high prices. Ted Coleman cut his teeth playing local clubs and venues in his hometown of Pittsburgh, where his skills on vibes and mallet percussion quickly earned him popularity in the local area. "Taking Care Of Business" was his very first studio album, blending latin rhythms with smooth jazz and soul stylings. The musicianship on the record is striking, the vocals mellow and soulful, the lyrics warm and tender: put simply this album is designed to warm the heart. Still writing and recording at ‘Joyful Noise’, his Metuchen New Jersey studio, Ted Coleman also performs across the US with his “Good Vibes” band. More sublime stuff from the flawless BBE.

STAFF COMMENTS

Patrick says: Oh my Lord! BBE reissue another lost classic here, putting the spotlight on unsung vibraphone hero Ted Coleman. Stick this on the player and soar away on the soulful strings, deep grooves and stunning vibes of this jazz-funk masterpiece.

TRACK LISTING

A1 Can You Feel It
A2 Due Consideration
A3 If We Took The Time
A4 Due Consideration Interlude
B1 Sweet Bird
B2 What A Lovely Way
B3 Samba De

Without doubt, funk is the mother of hip-hop - and although disco is sometimes viewed as somewhat anathematic to that movement, it’s worth remembering that for a while at least, it provided the vehicle that brought rap out of New York and presented it to the world - and the results of these divergent musical styles crossing paths still resonate around the globe. It’s easy to forget or play down the importance of the Sugarhill Gang’s ‘Rapper’s Delight’ - an unusual, clever novelty record that was cocksure and playful, which burned up the commercial airwaves in 1979. It was followed swiftly by Kurtis Blow’s ‘Christmas Rapping’, which also charted and gave Top Of The Pops its first on-stage rapper in early 1980. Although it wasn’t yet referred to as hip-hop in the UK, rap had already made itself known to the record-buying public at large - and as the rap 12" single was barely a year old, this was an incredible feat for such a nascent scene. The largely independent rap releases which had been slowly but steadily trickling out of the US would occasionally, like Sugarhill’s appropriation of Chic’s ‘Good Times’, take their musical cues from popular club tracks of the day - and disco-derived rap records were plenty.

‘Rock It… Don’t Stop It!’ features a selection of forgotten or relatively obscure rap singles from the ’79-‘83 period, universally known as ‘old school’, which fall into the hip hop-disco category. Inspiration for these vignettes from hip-hop’s evolution range from classic party rockers by Cheryl Lynn, through to Yazoo (and, no doubt, ‘Rapper’s Delight’) and the featured MCs give it their best shot with humour, earnestness and everything in-between. Although most of these hail from New York state, the under-represented Massachusetts shines alongside a prominent player which at the time had yet to find its own distinctive voice - Los Angeles. Hip hop and rap are now a dominant force in contemporary music and have constantly adapted to stay relevant, drawing on and absorbing all around them. ‘Rock It… Don’t Stop It!’ goes back over 30 years to their collective big bang moment.

After spending much of the 90s backing established artists like James Poyser and Christopher Williams, Philly soul singer V released his own single "It's Raining". This caught the ear of DJ Jazzy Jeff, who then brought V in to record at his Touch Of Jazz studio, with songs co-written by Jeff, Pete Kuzma and V. A testament to the soul that modern R&B has lost (check the Gil Scott-Heron copied sleeve), "The Revelation Is Now Televised" has been compared to the likes of Stevie Wonder, Luther Vandross and D'Angelo, and features a guest appearance from the multi platinum, Grammy award winning Jill Scott.