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!

The roots of salsa in Japan trace back to Latin music pioneers such as Tadaaki Misago’s Tokyo Cuban Boys, who played mambo and rumba post-World War II. However, salsa truly took hold in Japan in the 1970s, catalyzed by the Fania All-Stars’ 1977 tour. Among those captivated was percussionist Masahito “Pecker” Hashida. Known for his reggae contributions through albums like “Pecker Power” and “Rasta Instantané Avec L’Effroyable Pecker,” Pecker’s influence expanded after experiencing the vibrant salsa scene in New York City in 1977. Upon his return to Japan, he spearheaded the creation of Orquesta Del Sol, marking the inception of the salsa genre in Japan.

Orquesta Del Sol’s popularity soared with performances that encompassed both covers and original pieces. The group’s rise was buoyed by Japanese session drummer Shuichi “Ponta” Murakami, whose participation in 1980 elevated their profile and led to a contract with Discomate, an arm of TBS Group. This label also featured artists like Toshiko Akiyoshi and Junko Yagami.

The band’s debut album, “Rainbow Love,” was co-produced by Ponta and released in 1981. Apart from a cover of “Rumbambola” by Noro Morales, the album features original compositions performed in Japanese, Spanish, and English. The album cover, illustrated by renowned graphic artist and salsa enthusiast Yosuke Kawamura, mirrored the band’s pioneering spirit.

Masashi Takahashi, a noted Japanese Latin music specialist, observes in the newly commissioned liner notes that Orquesta Del Sol reflects shades of New Music, a genre linked to city pop. Takahashi notes that the musicians, deeply embedded in Tokyo’s vibrant studio scene, naturally gravitated towards creating a uniquely Japanese salsa sound. This sound, heavily inspired by Nuyorican salsa, has endured over the decades, warranting a worldwide reissue.

The reissue of “Rainbow Love” marks its first worldwide release on vinyl and digital formats, supplemented by seven bonus tracks previously only available on a CD reissue named “Legend Vol. 1” from the band’s label, Uno Music, in 2000.

The band recorded these tracks some time after the release of their second album, Harajuku Live in the early 80s when they were offered album deals from many record companies. Four of the tracks were covers of songs of some of the favorite salsa artists of the band members that they performed at the time when they first started.

Juan Pachanga is a cover of Fania All-Stars included in the album Rhythm Machine, Campanero is a cover of José Mangual Jr. included in the album Tribute To Chano Pozo, Yo Soy La Rumba is a cover of Machito & His Orchestra included in their album Yo Soy La Rumba! and Duerme is a cover of the band Libre included in the album Con Salsa..Con Ritmo Vol. 2- Tiene Calidad.

All tracks have been remastered, with the original Japanese liner notes now available in English and accompanied by Takahashi’s new insights.

The timing of this release dovetails with the growing global interest in historic Japanese music, spotlighting the origins of salsa in Japan. Orquesta Del Sol, whose former members later formed the Grammy-nominated group Orquesta De La Luz, have continued to influence the genre significantly. Their debut album remains a cornerstone, inviting new listeners to experience the innovative fusion of Latin sounds nurtured in Japan.

TRACK LISTING

Disc: 1
1. Rainbow Love
2. One More Kiss Again
3. Que Alegria
4. Mundo Cruel
5. Night Ripple
6. Get-A-Odyssey
7. Rumbabola
8. Dawn

Disc: 2
1. Luna De Miel
2. Campanero
3. Yo Soy La Rumba
4. Dame Un Beso
5. Duerma
6. Drizzling Rain
7. Juan Pachanga

Yet another album of musical excellence compiled by If Music’s Jean-Claude for the excellent and massively collectible ‘You Need This’ series. This release marks the 4th volume in the A Journey Into Deep Jazz portfolio in the If Music cannon released on BBE and will be available on a double vinyl LP and as a digital release.

Deep Jazz volume 4 continues to meet the high quality bar set by the previous releases in the series and the If Music presents… catalogue. Its global diversity of artists is represented in the tracklisting. This nine track offering ranges from the slow, lush Bobby Hutchersonesque, never repressed ‘Process of a Cloud’ from Japanese Drummer George Hirota to Oakland artist Phavia Kujichagulia’s Congolese themed, black consciousness Fancy Footwork and the mighty combination of Ginger Baker and Ransome Kuti on their co-written N’Kon Kini N’Kon N’Kon, a chunky, Lo-Slung Afro-Beat celebration of Fela Kuti’s Kalakuta Republic.

Jean-Claude’s excellent track record of creating and curating compilation albums and rediscovering rare gems and private presses for re-issue follows a philosophy of cross- genre music appreciation that can be traced even further back than to his time as one half of the innovative, genre bending, DJ and production duo The Amalgamation of Soundz. Jean- Claude has been a mainstay of London’s Black Music scene for some four decades with his record shop, his shows on NTS and Soho Radio, his excellent ‘In Conversation with…’ series of chat shows, his Djing and curation of event stages at Across the Tracks Festival and, of course, his excellent compilations.

Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

TRACK LISTING

A1. Losers & Fools (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) – Weekend Sun
A2. Body Work (Nick Reach Up Remix) – Hot Streak
A3. Lovin’ You (Smoove Disco Dub) – The Honeyshotz
B1. I Like Funky Music (Skratch Bastid Turntable Mix) – Uncle Louie
B2. Beyond The Clouds – Quartz
B3. Five Days – Buscrates Feat DJ Epik
C1. Please Don’t Break My Heart (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) – The Affair Feat Alyson Williams
C2. Change – Platinum City
D1. You’re So Far Away (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) – Rena Scott
D2. Free Yourself (Full Intention Extended Remix) – Birdee & Nick Reach Up Feat Barbara Tucker
D3. Love Don’t Pay The Bills – Trailer Limon
E1. Black Water Gold Part 2 (DJ Andy Smith Reach Up Disco Wonderland Extended Mix) – The Sunshine Band
E2. The Big Throwdown – Get To Know
E3. Make It Alright – BB Soul Feat Laura Jackson
F1. Disco Hi-Life – Orlando Julius
F2. Bad Times (Yam Who Extended Vocal Remix) – Risk Assessment

After the highly anticipated debut album "Sugar Honey Iced Tea!," the dynamic NYC duo strikes once more with a double pack of alternate versions and remixes. Craig Handfield and Brandon Weems, better known as musclecars, have unveiled a dance music masterpiece, now graced by the touch of house music legends Louie Vega and Maurice Fulton. This double pack showcases multiple versions of "Tonight," remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub). Additionally, we are gifted a new version of "Hello?" reimagined by Maurice Fulton. In this version, Maurice's signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original. Complementing the remixes from musclecars' esteemed inspirations, we encounter two new versions of "Ha Ya! (Eternal Life)" and "Water," both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey "I Don’t Remember The Last Time I Saw Stars." The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!

TRACK LISTING

Disc: 1
1. Tonight (Louie Vega Remix)
2. Tonight
3. Tonight (Louie Vega Bronx Dub)

Disc: 2
1. I Don’t Remember The Last Time I Saw Stars
2. Hello? (Maurice Fulton Remix)
3. Ha Ya! (Eternal Life)(Planetarium Mix)

BBE Music presents a meeting of musical spirits in a unique live recording captured just a few months before the world changed due to a global pandemic. Recorded in September 2019, Live at Café Oto sees two giant heavyweights of the post-war Japanese jazz scene come together with a pair of exemplary musicians from the heart of the new UK jazz movement. Generations and continents apart but united as one for a very special concert. Together, performing at London’s leading space of innovative and exploratory music – Café Oto in East London – pianist and composer Masahiko Satoh and drummer Takeo Moriyama fuse their musical forces with saxophonist Idris Rahman and bassist Leon Brichard, at the time both members of Ill Considered, one of the UK’s most notable experimental jazz groups. Masahiko Satoh and Takeo Moriyama are more than mere players of their respective instruments. They inhabit a higher realm, a space closer to icons or totems in their chosen fields. Both Satoh-san and Moriyama-san emerged as potent forces in the late 1960s – Satoh-san as an experimental and iconoclastic composer and pianist and Moriyama-san as the dynamo to the blistering Yosuke Yamashita Trio – a critical period in the development of free and modern jazz in Japan. A time that witnessed creative boundaries dissolve, new vectors of cultural transmission emerge and the very definition of ‘jazz’ undergoes intense and wide-ranging reframing by a new generation of artist. These artists eschewed prior conventions and forms and looked to construct a new musical vernacular. That spirit of change and transformation is shared with the two younger players who accompanied them on that autumn Sunday evening in East London. As members of Ill Considered, reed player Idris Rahman and bassist Leon Brichard (Brichard has since left the group) were at the fulcrum of the burgeoning UK jazz and improvisation scene that has taken the world by storm in recent years. Ill Considered’s sound was – and remains – centred on free improvisation and, in their own words, ‘based loosely around simple pre-written themes or composed on the spot’. It was therefore natural that Idris and Leon were well matched to play alongside two seasoned veterans of the revolutionary free improvising scene of the late 60s and early 70s Japan. Live at Café Oto presents a unique moment as generations meet in a unity of purpose to create a truly ecstatic experience that will not be forgotten by those lucky enough to be in the audience that night. That special moment can now be shared with you.

TRACK LISTING

1. Evening Snow
2. Ringo Oiwake
3. East Plants
4. Watarase
5. Other Worlds
6. Chiasma

Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium. Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist. While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms. Unlike a broken record, this The Brkn Record album keeps pushing boundaries— By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney. One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear. ‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, its common place and needs to end. Simple as.’ The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes. "The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!

TRACK LISTING

Disc: 1
1. We Need Freedom (featuring Jermain Jackman)
2. Black Gold (featuring Jermain Jackman)
3. Cut The Cheque (featuring Percee P & Great Okosun)
4. Believe (featuring Ugochi Nwaogwugwu & Toyin Agbetu)
5. Skull Tax (featuring Anthony Joseph)
6. Indifference (featuring Anthony Joseph)

Disc: 2
1. Why Do They Fear Us? (featuring Yolanda Lear)
2. Prison Of Skin (featuring Ugochi Nwaogwugwu)
3. The Walls Of Jericho (featuring Dylema)
4. Intensity In Five (featuring Anthony Joseph)

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

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

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)

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

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

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

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)

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

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

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

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

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)

Kev Beadle says; "Hard to believe its been about 16 years since I last put a compilation together and nearly 20 years since I was asked to raid my collection to put together a selection of rare hard to find music from days gone by...

The music on this compilation is for me a very personal journey tracing back to my earliest experiences as both a DJ and collector on the jazz dance scene. Early memories of frequenting clubs like Jaffas above The Horseshoe on Tottenham Court Road hearing Paul Murphy play these amazing records and then going to his shop pick up tracks like Johnnie Walker’s ‘Dipping’ and Jayne Cortez' 'I See Chano Pozo'. DJing on a Monday night at The Wag in Wardour Street was really special. Working with the likes of Gilles Peterson, Sylvester, Bob Jones and Chris Bangs was a musical education. The on going friendly DJ competitiveness to break and play recently discovered ‘old tunes’ like Reverie ‘In Every Way’, Irakere’s ‘Chekere Son’ and Olli Ahvenlahti’s dancefloor fusion classic ‘Grandma’s Rocking Chair’ was all part of the appeal.

When Gilles Peterson, Bob Jones and myself originally started the Talkin Loud Sunday Afternoon at Dingwalls sessions little did we know what a major part that would play in the history of jazz dance culture. Again it became a ‘one-stop’ to hear exciting and up until then undiscovered gems from both the jazz and soul scene. Tunes like Kamal Abdul Alim’s head nodding funk ‘Brotherhood’, The Pharoah’s ‘Freedom Road’ and Roy Porter’s ‘Jessica’ all became ‘Camden anthems’ mainly because of the open-mindedness of both the DJs and the Sunday afternoon regulars as well as the hunger to hear new music. So here is my ‘Private Collection’. I hope the music on it moves you in some way, whether you know the tracks or not, as it still does me."

TRACK LISTING

Peter Giger's Family Of Percussion & Archie Shepp - Here Comes The Family
Kamal Abdul Alim - Brotherhood
Johnny Walker - Dipping
Irakere - Chekere Son
The Pharaohs - Freedom Road
Southern Energy Ensemble - Open Your Mind
Roy Porter - Jessica (Instrumental)
Byron Morris & Unity - Sun Shower
Seeds Of Fulfillment -  Namaste
Reverie - In Every Way
Olli Ahvenlahti - Grandma's Rocking Chair
James Williams - Flying Colors

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.