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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!

FORMAT INFORMATION

LP Box Set Info: Part 1 contains 40-page coffee table book telling the story of the DJ as remixer and featuring previously unseen vintage photographs.

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.

Various Artists

IF Music Presents: You Need This - World Jazz Grooves (Compiled By Jean-Claude & Victor Kiswell)

Fresh from bringing us two incredible volumes of ‘A Journey into Deep Jazz’ and providing an introduction to Black Saint & Soul Note Records on BBE, IF Music’s Jean-Claude joins forces with Victor Kiswell for new compilation, ‘World Jazz Grooves’.

Currently celebrating 15 years of trading from his London record shop IF Music, Jean-Claude has built an enviable reputation over the past 25 years, as the go-to rare vinyl vendor for some of the biggest DJs and producers on the planet. Fellow record dealer and specialist music expert Victor Kiswell has travelled the globe several times over, hunting for rare records and DJing, appearing on a Cairo edition of Boiler Room in 2017.

As you might expect, this treasure trove of music contains a generous handful of obscure and brilliant musical gems, carefully mined from all corners of the globe. “Europe, The Americas, Africa and Asia are all represented herein and hopefully a few surprises foryou, the listener, too” say Victor & Jean-Claude, summing up the project. From its inspired opener: Vietnam veteran Billy Bang’s visceral New York social commentary ‘Illustration’ whose Watts Prophets inspired spoken word vocal is (sadly) as relevant today as it was in 1978; through to the album’s closer, a touching African township ballad titled ‘ITwenty-Five’, ‘World Jazz Grooves’ takes the road less travelled to provide a jaw-dropping journey through world jazz culture.

As Jean-Claude and Victor put it: “Jazz will always have its appeal: though influenced, jazz does not need to be dictated by trends. It has been experimented with by (almost) every population on the planet. It is its diversity, the fusing of various elements of different folklores, that allows jazz to constantly evolve and maintain its relevance.”


The radical discovery by Amir Abdullah of 5 two-track master tapes in the care of Hermine Brooks – widow of innovative Detroit drummer Roy Brooks – of the Charles Mingus Quintet recorded live in Detroit at Strata Concert Gallery is cause for some serious celebration. These electrifying recordings took place during Mingus’ week-long residency in February 1973. They were broadcast live by drummer/producer and broadcaster Robert “Bud” Spangler for WDET FM – a public radio station dedicated to jazz – from Kenny and Barbara Cox’s multi-purpose home for Strata Records at 46 Selden. Entrance to the gig was $5 dollars in advance and $6 on the door.

By the early Seventies Mingus’ militant musings, volatile character and hugely innovative musical offerings had already earned him global notoriety. He’d played with the Bird, Dizzy, Max Roach, Duke Ellington and had released universally acclaimed albums as a leader like ‘Blues & Roots’, Oh Yeah’ and ‘Black Saint & The Sinner Lady’. This gig – one of a Jazz In Detroit series that also included Keith Jarrett, Tribe and Herbie Hancock – took place a few months after the release of Mingus’ “third stream” masterpiece ‘Let My Children Hear Music’.

The music on these tapes is blazing. According to the late Roy Brooks, the band – which included himself and fellow Detroit trumpeter Joe Gardner - had not long returned from playing two tours in Europe. Fresh to the quintet was stellar pianist Don Pullen and listening to these recordings Pullen’s church-driven power, blues sensibility and harmonic sophistication perfectly complements the bassist’s own vision. On tenor saxophone we have the soulful and innovative John Stubblefield. Like Pullen he was a recent recruit. Unfortunately, the saxophonist’s time with Mingus lasted a mere 5 months: “I got in a fight with Mingus and I shouldn't have done that. After that, I couldn't get arrested in New York." Ironically, when Sue Mingus formed the Mingus Big Band in 1992, to perpetuate her husband's legacy, Stubblefield emerged as a talismanic presence in the ensemble until he passed in 2005.

Thanks to BBE, 180 Proof Records and Strata Records we can now tune in to WDET-FM and transport ourselves back to Detroit ’73, and get a taste of the furious energy and compositional sophistication of a unique and modern master at work in the most intimate of settings.


Ron Trent Vs Lono Brazil Vs Dazzle Drums

Manchild (In The Promised Land)

    A timeless deep house track with a powerful message, Manchild (In The Promise Land) is a brand new creation from two of Chicago House music’s true architects, Ron Trent & Lono Brazil.

    Getting his start as a DJ in the mid 80s while still a teenager, Ron Trent quickly turned his hand to production, studying percussion and keyboards; skills which define his distinctive, melodic compositions to this day. Founding Prescription Records with Chez Damier in ’93 and sister label Balance soon after, he helped introduce talents such as Moodymann, Pevan Everett and Luke Solomon to a global audience. Ron Trent’s career has gone from strength to strength over the last three decades, DJing all over the globe while continuing to push boundaries with his productions and remixes.

    Mentored by none other than Frankie Knuckles and a close associate of the great Ron Hardy, Lono Brazil’s musical roots touch the very foundations of House Music. A true cultural ambassador, over the years Lono has produced shows with legendary artist Keith Haring, worked as an executive for Capitol/EMI and helped kick-start the recent disco revival from a small dive bar in Chicago’s North side, not to mention walking the runways of New York, Milan, London and Tokyo as a high fashion model.

    Afro-centric house in its purest form, Manchild (In The Promised Land) is characterised by Lono Brazil’s golden voice and original spoken word poetry which paints a moving picture of urban deprivation and stolen childhood. Subtle synth chords shimmer behind the jazz influenced bass-line and warm percussion that seems to play ‘call and response’ with the vocal. Fresh from appearing on Boiler Room Tokyo back in April, talented and in-demand Japanese husband and wife duo ‘Dazzle Drums’ provide a deep and tribal dub version of ‘Manchild’, steadily building up a compelling drum groove before taking flight into synth-heaven.

    As part of the widely respected BBE J Jazz Masterclass Series, Koichi Matsukaze's incredibly rare and much sought-after album Earth Mother sees a deluxe repress on BBE Music.
    Regarded as one of the most sought-after yet elusive albums from a pivotal era in Japanese jazz, “Earth Mother” was originally issued in 1978 on ALM, a private label home to some of the most innovative jazz, contemporary classical and free improvisational music released in Japan during the late 70s and early 80s. It was here that “Earth Mother” found a natural home among the experimental and transgressive, destined to remain in obscurity for decades until the album’s muscular, bass-driven title track was included as the opening cut on BBE’s acclaimed compilation “J Jazz: Deep Modern Jazz From Japan 1969-1984”. It was a fitting way to start such a landmark collection and the track quickly became a favourite among DJs and jazz fans.
    “Earth Mother” sees saxophonist Matsukaze team up once again with legendary drummer and band leader Furusawa Ryojiro; joined by Tamio Kawabata on bass to form the core trio which is augmented by Daitoku Toshiyuki on acoustic piano and Fender Rhodes.
    This is a mythic album, seen and heard by very few; often among the top wants for even the most hardcore jazz collectors. The album ranges from heavyweight spiritual jazz and post-bop burners, to Dolphy-esque experimentation (“Don't Worry About Tenor Saxophone”) and a singular take on the classic, “Round Midnight”.
    To optimise the sound of the music, “Earth Mother” is now issued as a 180g vinyl double album, with exact reproduction artwork, obi strip, insert and labels plus translated notes. It is also be available on CD and across digital formats.


    Takeo Moriyama

    East Plants

    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.


    Ralph Thomas

    Eastern Standard Time

    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.

    Neroli record founder Volcov returns with the second volume of compilation series ‘From The Archive’ on BBE Music.

    It’s been a busy two years for Enrico Crivellaro (Volcov) since the release of ‘From The Archive Vol. 1’. His Neroli label has seen stellar releases from Dego (2000 Black), Lars Bartkuhn, Trinidadian Deep and Alton Miller among others, leading to a hectic schedule of DJ sets across the globe.

    In ‘From The Archive Vol. 2’, Volcov’s musical roots are once again evident in a jazzy collection of hidden gems spanning genres and continents. As Volcov puts it: “the spirit and the sound of this album follows the frst volume: choosing more songs that i thought were overlooked and deserved more attention. This time, with such a crowded marketplace for reissues and compilation of 70s-80s music, I decided only to focus on songs from the last 10-15 years.”

    ‘From The Archive Vol. 2’ features several tracks never before released on vinyl, including ‘Afterlife Vol.2’ by 'Black Renaissance' composer and Roy Ayers collaborator Harry Whitaker and Ron Trent’s homage to French violin genius Jean-Luc Ponty, ‘Ori Space’. Taking in intimate downtempo soul, extraterrestrial jazz sounds and straight up club music, ‘From The Archive Vol. 2’ paints a vibrant and eclectic musical picture, autographed with a couple of signature edits by Volcov himself.

    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.

    'LillyGood Party!' is the brand new BBE compilation from highly respected Swiss DJ Alex Attias. Taking its name from a party he runs in his native Lausanne, LillyGood has gradually evolved into a radio show and even a label, now on its 4th release. Refecting the music he plays at the clubnight, ‘LillyGood Party!’ is packed with funk, disco, deep house and boogie bullets from across the globe. “The idea is to present not only rare or difcult tracks to fnd, simply good grooves for people to play out, or listen to at home.” From rare Japanese disco gems, through spiritual jazz, to genre defying sounds from broken-beat cohorts Kaidi Tatham and Dego, LillyGood Party! takes a unique trip inside the musical mind of one of dance music’s true nonconformists.

    Alex Attias got his start in back in ’88 playing funk, house, jazz, and disco, as well as producing under various monikers such as Mustang, Freedom Soundz or Beatless. Moving to London in ’97 he started his ‘Visions’ label and found himself at the epicentre of the emerging West London ‘Broken Beat’ scene which grew around his studio at Goya. Releases on People, Planet E, Ubiquity, Neroli, Archive and Compost followed, as well as remixes for Incognito, 4Hero, Ennio Morricone, Sun RA, Art Blakey, Roni Size and Laurent Garnier among others.

    Various Artists

    J-Jazz: Deep Modern Jazz From Japan 1969-1984

    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.

    Various Artists

    Ernesto Chahoud Presents TAITU - Soul Fuellled Stompers From 1960s-1970s Ethiopia

    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. 

    BBE kick off a new 7" series featuring some of the most iconic house tracks of all time and selected by DJ Spinna and Kai Alce. Part one of this ‘Foundations’ series celebrates Chicago producer Cajmere’s early masterpiece "Brighter Days". Best known in recent years by his Green Velvet moniker, Curtis Jones has been blazing a trail through house and techno since launching his Cajual imprint back in ’91. Reaching #2 on Billboard’s dance chart in 1992, "Brighter Days" was Cajmere’s breakthrough hit and continues to educate and inspire producers, DJs and dancers to this day.

    With artwork lovingly adapted from the original 12”, the record’s 'North Side' features a deft Kai Alce edit of the monstrous 10 minute Masters At Work remix. Introducing those distinctive skipping, syncopated rhythms later adopted by UK garage pioneers, Louie’s MAW mix has lost none of its dancefloor impact over the last 25 years. Lurking on the ‘South Side’ you can find the raw, potent ‘Underground Goodies Mix’, a production credited by Rashad and other pioneers as the catalyst for Chicago’s ‘footwork’ movement.




    STAFF COMMENTS

    Matt says: Takin you back to a time when 'crusty man' walked the North, when happy hardcore adverts graced national TV and white dog poo was not uncommon; this optimistic offering was just the ray of light the charts needed. And has now become solidfied into 'classic house' territory.

    “The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and had respect for the creative work from which his mixes were derived” - Patrick Adams

    This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music. John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even” is the source from which BBE Records got its name.

    No attempt has ever been made to summarise the pinnacle of John’s work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M&M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M&M legacy.

    This is the legacy of the M&M mixes.


    The second EP from Rhemi in the "Choice Cuts" series. London duo Ziggy Funk & Neil Pierce unleash four more of their finest productions on vinyl for the frst time. At the forefront of London’s nascent soulful house revival (although many would argue the sound never left our nation’s capital), both artists are no strangers to the BBE label. Commencing with 2014 smash "Beat Within", featuring powerful, floor-filling vocals from Cassius Henry; recently granted a new lease of life thanks to a white-hot remix by the mighty Opolopo. Next up comes a special down and dirty dub mix of "Everything Is Good"; a potent dancefloor workout, tested and approved in nightclubs the world over. Familiar to BBE fans since appearing on Kiko Navarro’s album "Everything Happens For A Reason", London vocal duo Hanlei provide a vintage performance on feel-good anthem "Keep Dancing", combining ‘club classic’ appeal with tight, modern production. Originally release on Rhemi’s "Land Of Promise" EP, "Freedom" closes out the EP with a deep groove and warm, rhythmic stabs designed to hypnotise. With another two volumes of "Choice Cuts" on the way and a work-rate that shows no signs of slowing down, it’s safe to say we can expect a big year for the Rhemi boys.

    SunPalace

    Rude Movements (Part I & II)

      THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Our first Record Store Day offering is a strictly limited, highly collectible 7" pressing of BBE's most talked-about release in quite some time, 'Rude Movements' by SunPalace. An iconic 80's UK jazz-funk cut, hugely influential during the early days of dance music, the long-standing status of Rude Movements as a go-to record at David Mancuso's Loft Parties make this year's re-issue especially poignant. For the 7" cut, original producer Mike Collins has created an exclusive edit of the track to occupy both sides of the vinyl.

      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.

      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. Boasting unreleased versions of the likes of Double Exposure, The Salsoul Orchestra and Gladys Knight by DJ royalty Walter Gibbons, Tee Scott and François Kevorkian, this is pure mirror ball magic folks.

      Ted Coleman Band

      Taking Care Of Business

      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.

      Kenny Mann Jr. & Liquid Pleasure Band

      Tin Top - Inc. Kon Edit

      THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Taken from 'Off Track Vol. 3', 'Tin Top' provides yet another reminder of why Kon is revered almost as much for his music knowledge and record collection as he is for his production skills. A party disco belter, Kon's subtle edit of 'Tin Top' simply can't miss on the dance-floor thanks its infectious groove and fun lyrics. In Pt.2, the story takes a darker turn, while the track just keeps on grooving.

      Very special artists packages, released on 12” vinyl for the first time, exclusively for RSD 2016, strictly very limited.


      Vursatyl

      I Got It / Bring It To A Halt - DJ Spinna / Jake One Remixes

      Very limited 7” vinyl featuring DJ Spinna & Jake One on remix duties.

      It's fair to say that veteran Portland rapper Vursatyl has been making major waves of late, with praise and support for his 'Crooked Straights' coming from Kenny Dope, Okayplayer, 2DopeBoyz & Urb magazine among many others. Off the back of a world tour supporting the mighty Blackalicious and in response to popular demand, we've decided to press two very special new remixes on strictly limited 7" vinyl.

      First up, NY legend DJ Spinna lends his deft, soulful touch to 'I Got It', which summons up memories of the golden era with its deft, conscious lyrics and jazzy, off-kilter beats. On the flipside, underground stalwart Jake One takes control, serving up a fiery version of tongue-twisting lyrical missile 'Bring It To A Halt' with a side order of heavy drums and clinical cuts from DJ Flip Flop.


      Various Artists

      Rock It... Don't Stop It! - Rapping To The Boogie Beat In Brooklyn, Boston And Beyond 1979-1983 - Compiled By Sean P

      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.

      "Real Authentic Reggae Volume Two" contains a glorious collection of recordings carefully chosen by reggae afficianado David Rodigan. Recent hits from 2008 such as Luciano's "Deliver Us From All Evil", Macca B's "Empress Divine" and Junior Kelly's "Cyaan Reach" are included, whilst the heart of the album contains 1970s soulful recordings from the studios of western Kingston. The opening trailblazer by King Tubby sets the scene for a broad collection of songs that touch on affairs of the heart (Cornell Campbell, the Melodians, Sugar Minott, Johnny Clark) and songs of social living (Delroy Wilson, Wayne Wade, Leo Hall). Rastafarianism had a major impact on the development of reggae music and songs such as "Joy Within My Heart" by Fred Locks and "Deh Pon De Wicked" by Brent Dow reflect this powerful force. Sly Dunbar and Robbie Shakespeare, the kings of Jamaican drum and bass, are represented by two of their ace productions from the 1980s ("Oh What A Feeling" by Gregory Isaacs and "Heart Made Of Stone" by the Vice Roys). Two very rare instrumental recordings are also included on this album, both produced by Gussie Clark namely Schenectaday's "Shock" featuring the ace Jamaican saxophonist Tommy McCook and "No Entry", a haunting melodica piece from Augustus Pablo.

      Tracklisting
      1. King Tubby ft. Jackie Edwards – Tubby's Dub Festival
      2. Gregory Isaacs - Oh What A Feeling
      03. Leo Hall - Let's Dub It Up
      4. Chakademus and Pliers – When King Tubby Used To Play
      5. Augustus Pablo - No Entry
      6. Fred Locks - Joy Within My Heart
      7. Brent Dowe - De Pon The Wicked
      8. Luciano - Jah Deliver Us From All Evil
      9. Chezidek - Call Pon Dem
      10. Johnny Clark - Do You Love Me
      11. Cornel Campbell - My Confession
      12. The Melodians – Submission
      13. Jimmy London - What Good Am I
      14. Simplicity People ft. Tommy McCook - Shock Shentetacky
      15. Delroy Wilson - What Is Man
      16. Wayne Wade - Billy Red
      17. Junior Kelly - Cyaan Reach
      18. Macka B - Empress Divine
      19. Sugar Minott - Never Too Young
      20. The Viceroys - Heart Made of Stone

      Master funk musician Nick Van Gelder, legendary drummer and architect of the original Jamiroquai sound returns to planet earth with his brand new band. Featuring the amazing vocal talents of Mazen (formerly Akwaaba People) and London's finest stella horns – Jim Hunt, Dom Glover, and Nichol Thomson (Incognito, The Brand New Heavies, Omar). "Choose Music" is a collection of tight, infectious, soulful, jazzy house grooves. No gimmicks, just real live dance music.

      Marc Mac's Visioneers project LP "Dirty Old Hip Hop", was one of the stand out albums of 2006 and a favourite at Piccadilly HQ. It now comes back reconstructed by some like-minded producers on the hip hop scene. Just three tracks from the original LP get the remix treatment on this CD, with "Funkbox" reworked by Jazzy Jeff, Terry Tester (one fifth of Danish hip hop troupe Vincent Van Go Go), Twelve Beats and Denz, "Replay" is remade by Terry Tester and Marc Mac. The LP is rounded off by the Visioneers remix of "Runnin'", featuring the original Pharcyde vocals reinstated over Marc's live band instrumentation. There's 14 different mixes in total.

      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.


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      Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
      Wed 24th - 8:58
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