WES MONTGOMERY – CALIFORNIA DREAMING (ACOUSTIC SOUNDS)
Wes Montgomery – California Dreaming (Acoustic Sounds).
Label: Verve.
Format: Vinyl.
Recorded in September 1966 at Van Gelder Studio in Englewood Cliffs, New Jersey, and released by Verve Records in early 1967, ‘California Dreaming’ stands as a pivotal document in Wes Montgomery’s discography. Produced by Creed Taylor and arranged by Don Sebesky, the album represents a seamless intersection of pop accessibility and jazz brilliance.
Supported by a heavyweight rhythm section including Herbie Hancock on piano, Richard Davis on bass, Ray Barretto on percussion, and Grady Tate on drums, Montgomery bridges the gap between commercial orchestral pop and hard-bitten hard bop.
Side A.
The album opens with its titular centrepiece, a reinterpretation of The Mamas and The Papas’ folk-pop hit ‘California Dreaming’. Sebesky sets a dramatic mood with a surging brass and woodwind swell before Montgomery enters with his iconic thumb-plucked single note lines. Montgomery navigates the minor-key progression with muscular phrasing, sliding smoothly into his trademark octaves as the brass punches rhythmically behind him. Rather than succumbing to kitsch, the performance turns a pop radio hit into an urgent, sophisticated jazz exercise.
‘Sun Down’ is the longest track on the record is a original blues composition by Montgomery. Freeing himself from tight orchestral arrangements, Montgomery engages in an extended blues exploration. Herbie Hancock provides delicate, harmonic comping while Richard Davis establishes a deep groove. Montgomery builds his solo systematically – moving from bluesy single note queries to lush block chords and explosive octave runs. It is the purest jazz moment on the album, displaying his untamed guitar virtuosity.
‘Oh, You Crazy Moon’ sees a shift int classic balladry, this Jimmy Van Heusen standard showcases Montgomery’s lyrical touch. Sebesky’s woodwind and horn arrangements float softly in the background, providing a cushion for Montgomery’s melody. Playing primarily with warm octaves and gentle chordal harmony, Montgomery renders the melody with intimacy and deep swing, proving his mastery over slow-tempo standards.
‘More, More, Amor’ was written by Sol Lake, and introduces a Latin pop flair. Driven by Ray Barretto’s percussion and Grady Tate’s crisp drumming, the rhythm moves at a brisk pace. Montgomery responds with light, syncopated phrasing that bounces off the horn stabs. It is brief, breezy, and serves as a rhythmic palate cleanser between the record’s heavier pieces.
‘Without You’ closes side A. It’s a lush, reflective ballad. Sebesky’s orchestral backdrop leans into romanticism, but Montgomery keeps the track grounded with rich tone and soul-drenched note choices. His use of block chords toward the track’s climax adds harmonic density, ensuring the arrangement never feels overwrought.
Side B.
‘Winds of Barcelona’ opens Side B. It’s another Sol Lake composition that channels a Spanish-tinged groove. Jack Jennings’ castanets and Barretto’s percussion give the piece a subtle flamenco flavour. Montgomery leans into the rhythmic momentum, delivering crisp, rhythmic single-note runs that interlock with Hancock’s piano backing.
‘Sunny’ is, without doubt, one of the highlights of the album. Montgomery takes Bobby Hebb’s R&B hit and transforms it into a masterclass in groove. Driven by Davis’ walking bassline and Tate’s tight hi-hat, Montgomery digs deep into the soul-jazz idiom. His solo escalates steadily, moving through blistering octaves and syncopated chord riffs that showcase his effortless rhythmic placement.
‘Green Peppers’ is the third Sol Lake composition. It carries a bossa-adjacent, mid-tempo groove. The brass section plays lively call-and-response figures against Montgomery’s guitar lines. Montgomery keeps his solo playful and relaxed, making complex rhythmic substitutions sound effortless.
‘Mr. Walker’ was penned by Montgomery. It returns to a Latin-inflected hard bop style. Built around a catchy, syncopated motif, the track lets the core rhythm section shine. Hancock delivers subtle piano accents while Montgomery trades energetic phrases with the percussion section. It’s one of the album’s most authentic jazz offerings.
‘South of the Border’ closes ‘California Dreaming’ with a cover of the classic 1939 pop tune. Sebesky outfits the track with playful horn swells and a steady, marching Latin cadence. Montgomery approaches the melody with warmth and wit, bringing the record to a lighthearted, polished conclusion.
‘California Dreaming’ stands as a definitive benchmark in mid-sixties orchestral jazz production, capturing the precise moment when post-bop virtuosity seamlessly intersected with mainstream pop sensibility. While contemporary purists initially critiqued the commercial trajectory of Wes Montgomery’s Creed Taylor-produced Verve sessions, historical distance reveals these recordings not as artistic compromises, but as vital, sophisticated bridges that expanded the boundaries of jazz and elevated pop music’s harmonic vocabulary.
Far from diluting his craft to suit lush orchestral backdrops, Montgomery maintained his uncompromising technical mastery, signature thumb technique, and soul-drenched phrasing across every track. Anchored by Don Sebesky’s nuanced, dynamic arrangements and sustained by an elite rhythm section featuring Herbie Hancock, Richard Davis, Ray Barretto and Grady Tate, ‘California Dreaming’ captures a musical icon operating at the zenith of his instrumental authority and cultural resonance.
Wes Montgomery – California Dreaming (Acoustic Sounds).
GRANT GREEN – IDLE MOMENTS (BLUE NOTE ESSENTIAL VINYL SERIES).
Grant Green – Idle Moments (Blue Note Essential Vinyl Series).
Label: Blue Note Records.
Format Vinyl.
Recorded on November 4th and 15th, 1963, at Rudy Van Gelder’s legendary Englewood Cliffs Studio and released on Blue Note Records in 1965, Grant Green’s ‘Idle Moments’ is widely celebrated as one of the crown jewels of 1960s modern jazz. While Green established his formidable reputation on fiery, single-note blues lines and hard-driving soul-jazz organ trios, ‘Idle Moments’ captured him in a far more spacious, reflective, and structurally ambitious setting.
Backed by an extraordinary sextet—Joe Henderson on tenor saxophone, Bobby Hutcherson on vibraphone, Duke Pearson on piano, Bob Cranshaw on double bass, and Al Harewood on drums—Green produced an album defined by sublime group dynamic, pristine note selection, and late-night elegance.
Composed by pianist Pearson, the title track ‘Idle Moments’ unfolds as a near fifteen-minute Magnum Opus defined by an unhurried minor-key progression, crystalline vibraphone shimmers, patient single-note guitar phrasing, and expansive modal solos. It is a masterclass in tension, restraint, and atmospheric mood-setting. Originally conceived as a standard-length composition, the piece expanded into a sprawling fifteen-minute showcase when the band settled into an effortlessly slow, hypnotic groove during the initial take.
Green opens the piece with his signature clean, unadorned tone—devoid of heavy reverb or amplifier distortion—allowing every plucked note to ring out with deliberate emotional weight. Hutcherson’s vibraphone hovers behind Green like cool night air, offering a luminous harmonic cushion that replaces the traditional rhythm guitar. Henderson delivers a tenor saxophone solo that shifts gracefully from breathy, nocturnal warmth into subtle, smouldering heat, while Pearson contributes delicate, blues-inflected piano fills. Ultimately, it stands as one of the most hauntingly beautiful long-form tracks in the entire Blue Note catalog.
Penned by Green, ‘Jean De Fleur’ abruptly breaks the opener’s hypnotic spell, shifting the album into gear with a brisk, muscular swing. Characterised by uptempo hard-bop rhythms, syncopated guitar riffs, a driving rhythm section, and sharp horn-guitar interplay, the piece highlights Green’s extraordinary rhythmic articulation at faster tempos.
Cranshaw’s walking bass-line and Al Harewood’s crisp snare work establish an unshakeable foundation, leaving Green ample room to spin out intricate, blues-rooted linear runs. Henderson enters with an assertive, edge-of-the-horn cadence that contrasts sharply with Green’s smooth, linear picking. The track brilliantly demonstrates the band’s ability to pivot seamlessly from modal introspection to high-energy hard bop without disrupting the album’s overarching structural balance.
Composed by John Lewis in tribute to gypsy jazz legend Django Reinhardt, “Django” opens with a stately funeral-march motif before easing into a relaxed, mid-tempo swing transition. Enhanced by delicate vibraphone comping and subtle chamber-jazz textures, this arrangement highlights the sextet’s sophisticated ensemble chemistry.
Green honours Reinhardt’s legacy not through direct imitation, but by weaving his own signature bop vocabulary with subtle, haunting blues inflections. Hutcherson’s bell-like chords and Pearson’s understated comping lend the performance a light, transparent texture, allowing the natural acoustic resonance of each instrument to shine through Rudy Van Gelder’s meticulous recording setup.
Composed by Pearson, ‘Nomad’ serves as the album’s triumphant closing track. Built as a minor-key modal vamp around an evocative, eastern-tinged melodic hook, the piece features extended solo improvisations set against a driving, strutting rhythm. It returns to the long-form minor-key modal exploration pioneered on the title track, albeit at a livelier, medium-fast pace that affords each soloist full freedom to stretch out.
Green constructs a long, masterfully paced solo that steadily builds in intensity through subtle melodic variations and compelling rhythmic repetition. Henderson follows with a modern, post-bop bite, pushing the harmonic boundaries of the composition before Hutcherson and Pearson trade fluid, cerebral phrases. Throughout it all, Cranshaw and Harewood maintain an airtight, swinging pocket, bringing the album to a confident and deeply satisfying resolution.
‘Idle Moments’ occupies a unique and pivotal place in Grant Green’s discography and the broader sixties jazz canon. It successfully bridged the accessible, soulful hard bop of Green’s earlier career with the more adventurous modal and post-bop directions that Blue Note Records was actively pioneering during the mid-sixties.
Much of the ‘Idle Moments’’ enduring triumph relies on its inspired instrumentation and personnel. By replacing a secondary horn or rhythm guitar with Hutcherson’s vibraphone, the ensemble achieved a unique sonic weightlessness. Furthermore, the interplay between Green’s linear blues orientation and Henderson’s modern harmonic sensibilities created a compelling stylistic dialogue.
Engineered with remarkable intimacy and warmth by Rudy Van Gelder, ‘Idle Moments’ transcends its era. It stands not only as Grant Green’s supreme artistic statement as a bandleader, but as one of the finest, most complete guitar-led jazz albums ever recorded.
Grant Green – Idle Moments (Blue Note Essential Vinyl Series).
FREDDIE HUBBARD – RED CLAY
Freddie Hubbard – Red Clay.
Label: Music On Vinyl.
Format: Vinyl.
Recorded over three days in late January 1970 at Rudy Van Gelder’s legendary Englewood Cliffs studio, Freddie Hubbard’s ‘Red Clay’ stands as a watershed moment in jazz history. It captures the precise micro-epoch where the muscular, harmonically dense hard bop of the 1960s collided with the electric textures and rhythmic ostinatos of early 1970s fusion.
As the inaugural landmark release for Creed Taylor’s CTI Records, Red Clay avoided the smooth polished gloss that would later characterise the label’s late-seventies output. Instead, it delivered an uncompromising, incendiary masterclass in small-ensemble dialogue.
‘Red Clay’ was recorded over three days from January 27–29, 1970, and produced by Creed Taylor, the landmark album features trumpeter Freddie Hubbard alongside a formidable ensemble: drummer Lenny White, Ron Carter on acoustic and electric bass, Herbie Hancock on Fender Rhodes and acoustic piano, and Joe Henderson on tenor saxophone and flute. The album was one of the highlights of a fifty year career.
The title track opens with a haunting, out-of-time chorale shared by Hubbard and Henderson, briefly gesturing toward avant-garde chamber jazz before surrendering to one of the most iconic bass lines in modern music. Carter’s electric bass ostinato provides the heartbeat, anchored by Hancock’s sharp, off-beat jabs on the Fender Rhodes. This creates a dirty, deep-groove foundation inspired by Hubbard’s memories of his hometown of Indianapolis.
Hubbard’s lead solo stands as a masterclass in brass virtuosic power, highlighted by soaring high-register lip trills, soulful blues phrasing, and breathtaking stamina. Henderson follows with a gritty, oblique tenor sax passage that cuts incisively across the rhythm section, before Hancock takes over with a shimmering, funk-infused excursion on the electric piano. A definitive blueprint for soul-jazz fusion, this masterpiece would go on to exert a profound influence on hip-hop culture, most notably sampled in A Tribe Called Quest’s classic track ‘Sucka Nigga.’
‘Delphia’ was named in honour of Hubbard’s mother, and shifts the album’s energy into a lush, melancholic ballad. Opening with a pastoral flute motif from Henderson, the piece slowly unfolds over Hancock’s gospel-touched chord voicing and Carter’s subtle acoustic bass framework. Hubbard enters on trumpet with a warm, dark, and lyrical tone that balances vulnerability with technical poise. The composition eschews standard ballad tropes, leaning instead on complex harmonic shifts and subtle dynamic pacing that allow the soloist ample room to breathe.
‘Suite Sioux’ showcases Hubbard’s skill as a arranger and composer. The track opens with an aggressive, hard-driving 3/4 time signature led White’s crisp, polyrhythmic drumming. The horn lines weave in and out of complex, modal blues patterns before shifting into a driving 4/4 swing during the solos. Hubbard and Henderson trade ferocious, lightning-fast solos that demonstrate the peak of post-bop virtuosity, while Hancock’s electric piano comps with biting rhythm and harmonic tension.
‘The Intrepid Fox’ closes ‘Red Clay. It’s dedicated to the political legacy of John F. Kennedy, and is an explosive, high-octane hard bop sprint. Built around an intricate, unison horn line played at a relentless tempo, the track channels the ferocious energy of Hubbard’s earlier Blue Note records while maintaining CTI’s polished production finish. White drives the ensemble with relentless drive, fuelling Hubbard’s most technically demanding solo on the record. This is characterised by soaring, rapid-fire runs in the upper register. Henderson’s tenor saxophone work matches Hubbard’s intensity note-for-note, delivering a fiery, angular performance. It’s the perfect way to close the album.
‘Red Clay’ remains a towering achievement in modern jazz – a rare album that achieved commercial success without compromising artistic rigour or technical complexity. By fusing the harmonic sophistication of post-bop with the deep, visceral grooves of funk and soul, Freddie Hubbard created a timeless blueprint that has influenced generations of jazz, funk and hip-hop artists. It represents a master craftsman at the absolute peak of his creative powers, backed by one of the finest rhythm sections ever assembled in a recording studio.
Freddie Hubbard – Red Clay.
TERRY CALLIER – OCCASIONAL RAIN.
Terry Callier – Occasional Rain.
Label: Slow Down Sounds
Format: Vinyl.
Talent alone is rarely a guarantee of success; had it been, the late, great Terry Callier would have enjoyed a long and lucrative commercial career from the outset. For much of his life, however, he remained one of music’s best-kept secrets – an artist whose profound artistry resonated far more deeply in Britain than it did in his native United States.
By the time his work finally began to find a devoted following across the Atlantic, Callier had already built a rich catalog of material, leading up to his definitive sophomore breakthrough, ‘Occasional Rain’ which was recently released on vinyl by Slow Down Sounds.
Born in Chicago’s Cabrini-Green neighbourhood on the city’s North Side, Callier grew up alongside legendary peers such as Curtis Mayfield, Jerry Butler, and Major Lance. Showing an early aptitude for music, he learned piano as a child before mastering the guitar – foundational skills that would shape his distinctive, genre-blending sound.
As a teenager, Callier began singing in local doo-wop groups, little realising that this modest start would spark a musical journey spanning five decades. In 1962, an audition at Chicago’s famed Chess Records led to his debut single, ‘Look At Me Now’ – a minor classic that later became a revered staple of the UK’s Northern Soul scene.
While balancing early recording ambitions with college studies in Chicago, Callier gravitated toward the city’s vibrant folk clubs and coffee houses. Around this period, he discovered the music of John Coltrane, whose avant-garde jazz sensibilities left an indelible mark on his artistic evolution.
In 1964, two years after his debut single, Callier crossed paths with Samuel Charters of Prestige Records. The following year yielded the session recordings for ‘The New Folk Sound Of Terry Callier.’ Bizarrely, Charters subsequently misplaced the master tapes in the Mexican desert, delaying the album’s release until 1968.
That same year, psychedelic rock band H.P. Lovecraft covered Callier’s ‘Spin, Spin, Spin’ and ‘It’s About Time’ on their self-titled album, introducing his songwriting to a broader audience. By 1969, H.P. Lovecraft’s George Edwards was co-producing tracks for him. Yet, despite being a fixture of the Chicago music scene for nearly a decade, Callier still had only one official album to his name.
As the 1970s dawned, Jerry Butler established the Chicago Songwriters Workshop. Alongside his writing partner Larry Wade, Butler was composing for Chess Records and its Cadet Records imprint, which soon signed Callier.
Now signed to Cadet Records, Callier began work on his sophomore album, ‘Occasional Rain.’ Released in 1972, it became the first of a critically acclaimed album trilogy for the label. Though commercially overlooked upon its initial release, the record was eventually recognised as a masterwork of 1970s acoustic soul.
Released in 1972 on Cadet Records, ‘Occasional Rain’ marked the beginning of Terry Callier’s defining artistic trilogy alongside producer Charles Stepney. Fusing introspective folk lyricism, soul vulnerability, and modal jazz orchestration, the album stands as a landmark of American chamber soul.
Stepney’s production is punctuated by lush string phrasing, subtle electronic flourishes, and delicate backing harmonies from Minnie Riperton. She provides a cinematic backdrop for Callier’s rich baritone. Anchored by a recurring modal motif, the record operates as a continuous thematic suite exploring urban solitude, devotion, and self-examination.
Side A.
Opening ‘Occasional Rain’ opens with ‘Segue #1 – Go Head On.’ It’s a thirty-eight second acoustic guitar motif that establishes the thematic glue of the record. Built on a rolling, syncopated folk pattern accompanied by Callier’s soft humming, it serves as an intimate invitation into his headspace before the band enters.
‘Ordinary Joe’ is Callier’s signature anthem. It opens with driving percussion and a swaggering bassline before resolving into an uplifting chorus. Stepney balances folk-jazz acoustic rhythm with soulful brass and sweeping strings, while Callier delivers a humble, resilient perspective on life’s ups and downs.
‘Golden Circle #317’ sees a shift into eerie, ethereal territory. Anchored by sparse guitar picking and drifting vocal harmonies featuring background support from Riperton, the arrangement feels haunting and dreamlike, capturing an atmosphere of late-night urban isolation.
On ‘Segue #5 – Go Head On’ the recurring guitar interlude returns, cleansing the sonic palette after the shadowy textures of “Golden Circle #317.”
‘Trance on Sedgewick Street’ lasts over six minutes, and is the album’s centrepiece. Earl Madison’s expressive cello lines interweaves with Callier’s fingerpicking. Callier paints a portrait of Chicago city life with poetic clarity, his vocal rising from a quiet murmur to a soaring plea as the arrangement builds in intensity.
Do You Finally Need a Friend closes side A. It’s a gospel-infused soul track co-written with Charles Jones and Larry Wade. Driven by electric piano and swelling backing vocals, the song poses pointed questions about vulnerability, pride, and human connection, culminating in a raw,impassioned climax.
Side B.
Segue #4 – Go Head On makes the transition into Side B. This interlude re-establishes the album’s steady, meditative pulse.
Sweet Edie-D is a tender character study built around warm acoustic strumming and dynamic jazz-pop flourishes. Stepney’s arrangement swings effortlessly, letting Callier showcase his nimble rhythmic phrasing and storytelling craft.
Occasional Rain is a masterclass in mood-setting. Gentle Fender Rhodes, sparse acoustic chords, and subtle synthesizer textures simulate a quiet downpour. Reflecting on impermanence and heartbreak, Callier uses rain as a metaphor for fleeting sorrow in one of the album’s most poignant moments.
The recurring refrain can be heard on Segue #2 – Go Head On. It acts as a brief moment of reflection before the final movement.
Blues for Marcus is a melancholic folk-blues ballad featuring Earl Madison’s return on cello. Callier’s stark delivery strips away complex studio layering to focus on raw acoustic tone and heartfelt lyricism.
Lean On Me serves as the album’s emotional peak. Starting quietly with acoustic guitar and vocal, the track steadily ascends into a triumphant climax powered by gospel harmonies and soaring strings, capturing Callier’s core message of radical empathy in a cold world.
The album comes full circle with a final iteration of the motif on Last Segue – Go Head On. As the guitar fades out, it leaves the listener with a sense of completion, framing the record as a unified, interconnected journey.
Occasional Rain remains an enduring classic of early-1970s acoustic soul and soul-jazz. Stepney’s production provided Callier with the perfect canvas to bridge folk, jazz, and R&B without sacrificing an ounce of intimacy, securing its place as an essential entry in his discography
Terry Callier – Occasional Rain.
ORGAN-IZED – SLOW DANCE AND SOUL.
ORGAN-IZED – SLOW DANCE AND SOUL.
Organ-Ized – Slow Dance and Soul.
Label: Timmion Records.
Format: CD.
Over the last few years, Helsinki-based Timmion Records has consistently released some of the best contemporary soul, funk, and jazz. Part of the secret of the label’s success is their house band Cold Diamond and Mink. Then there’s the label’s analog 8-track studio. This allows them to combine vintage recording techniques with the labels contemporary and moderne vision.
This has proved successful, and nowadays, Timmion Records has a following worldwide that eagerly awaits each new release. The most recent release was ‘Slow Dance and Soul’ by Organ-Ized.
Organ-Ized is the mysterious alter-ego project helmed by Mr. Sophisticated Fingers who is joined by Finnish soul hitmakers, Cold Diamond and Mink. Together, they’re responsible for a musical masterclass in mood curation.
The concept is brilliantly minimalist. They take ten tracks from Finnish soul singer Emilia Sisco’s critically acclaimed debut album ‘Introducing,’ and then the ensemble strips away the vocal leads and transforms them into Hammond organ-centered, instrumental slowburners. The result is a smoky throwback to late-sixties or early-seventies organ jazz and deep soul balladry, reminiscent of Booker T. and The M.G.’s, Jimmy Smith, and the warm analog textures of vintage Hi Records releases.
‘Slow Dance and Soul’ opens with ‘Walk With Me.’ Where the original vocal track relied on lyrical storytelling, the Hammond organ takes over as the central storyteller. Mr. Sophisticated Fingers employs a lingering, drawbar-heavy vibrato that mimics human phrasing. Cold Diamond and Mink provide their signature locked-in rhythm section. A mid-tempo, dusty drum pulse is paired with a deep bass and allows the organ to swell and breathe. It acts as a beacon for the rest of the album. It’s deliberate, stylish, and deeply atmospheric.
‘I Wish I Was Yours’ shifts into a more vulnerable, nocturnal territory, this track leans into the “slow dance” half of the album’s title. The organ lines here are soft and melodic, weaving around delicate guitar chops and subtle, laidback percussion. The dynamic control is remarkable; rather than overloading the arrangement with fast solos, the player lets chords linger, allowing the natural tape warmth of the Timmion recording setup to do the heavy lifting.
‘Dreaming Of Love So Divine’ has a subtle gospel influence. The organ tone transforms into a lush, church-reverberant chord pad that grounds the groove. The melodic riffs feel almost like vocal calls and responses. It’s an ethereal, cinematic track where the rhythm section eases off slightly, letting the Leslie speaker’s swirling effect take centrestage to create a hypnotic, floating sensation.
On ‘I Can’t Go On’ the album turns toward heartbreak and tension. The tempo slows to a crawl, and the lower register of the organ is deployed to emphasise a melancholy weight. There’s an understated grit to the performance. Here, brief bursts of percussion punctuate the organ’s sustained notes, mirroring the emotional weight of a classic deep-soul ballad. It is one of the most expressive arrangements on the album.
‘When I Fall In Love’ shifts the tone back toward warmth and romanticism. The organ delivery is slick, fluid, and romantic, reminiscent of classic lounge-jazz standard arrangements. Cold Diamond and Mink’s rhythm section moves with a soft sway, making this track feel tailored for late-night listening and setting up a seamless transition to the record’s second half.
‘It’s Too Late’ has a touch more groove and attitude. The organ lead steps forward in the mix with a sharper, biting attack on the upper registers. The underlying rhythm carries a steady, head-nodding soul cadence. It serves as an ideal bridge from the late-night balladry of Side A into a slightly punchier, soul-jazz domain without disrupting the overall hypnotic, unhurried pace of the album.
Brightening the tone is ‘Light It Up With Your Smile.’ It introduces a sweeter, uplifting harmonic structure. The Hammond chimes in with warm, shimmering chords over a rolling bassline. The interplay between the organ’s rhythmic chops and the tight drum fills shows off the ensemble’s years of playing together. It’s a breezy, reassuring track that acts as a palette cleanser for the deeper cuts to follow.
‘Let My Soul Catch Fire’ delivers the highest level of energy on the record. The Hammond organ is pushed hard into tube saturation, resulting in a gritty, passionate performance that earns its title. The rhythm section steps up its intensity with driving snares and prominent bass grooves. The track captures the raw, spontaneous feel of a late-night studio jam session.
‘Is It True Baby’ returns to the album’s core motif of intimate slow-burners, and is driven by a rhythmic, swaying tempo. The organ phrasing is conversational and bluesy, trading space with delicate guitar licks. It showcases how effectively instrumental soul can express doubt and longing purely through note selection and subtle pitch bends.
‘I Dream That You Stay’ closes ‘Slow Dance and Soul’ on a beautiful, reflective note. The Hammond organ notes hang in the air, slowly fading over a gentle, steady beat. There is no rush to finish; the track winds down with an unhurried, hypnotic outro that invites the listener to immediately press play again.
‘Slow Dance and Soul. is a rare example of a concept album that feels entirely organic. By reimagining Emilia Sisco’s soul compositions into Hammond-led instrumentals, Organ-Ized and Cold Diamond and Mink have crafted a standalone mood piece. It is sophisticated, beautifully recorded, and is essential listening and a must have for fans of vintage soul, organ jazz, and analog instrumental grooves.
Organ-Ized – Slow Dance and Soul.
GRANT GREEN – IDLE MOMENTS.
Grant Green – Idle Moments.
Label: Blue Note (Essential Vinyl Series).
Format: Vinyl.
Grant Green’s classic album ‘Idle Moments’ was recorded during two sessions in November 1963 and released in 1965. It became one of the masterpieces of the Blue Note catalog.
Where many hard bop recordings of the era relied on fiery tempos, blues-drenched soul-jazz grit, or complex modal structures, ‘Idle Moments’ was different. Instead, it revealed a cooler, more spacious, and deeply cinematic side to Green’s artistry.
For the two ‘Idle Moments” sessions in November 1963, Green was joined by a truly talented and versatile band. Joining Green on guitar were drummer Al Harewood, double bassist Bob Cranshaw, pianist Duke Pearson, tenor saxophonist Joe Henderson and Bobby Hutcherson on vibes.
Over the two sessions at the Van Gelder Studio, at 445 Sylvan Avenue, Englewood Cliffs, New Jersey, this multitalented sextet created a crystalline balance of lyricism, space and propulsive swing on four tracks. This includes the title track, which went on to become a timeless classic.
Side One.
‘Idle Moments’ was penned by pianist Pearson, and quite simply, is a fifteen minute musical masterclass in atmospheric restraint and organic group dialogue. It was built on a minor blues framework. It’s recorded in C minor and is slow, spacious, moody, ruminative and encourages reflection.
The track was originally meant to be much shorter. Rumour has it that the band became so immersed in the tempo that each soloist expanded their solos. What was meant to be a chorus of sixteen bars became one of thirty-two bars. Thankfully, producer Lion wisely managed to preserve the take in full.
He did suggest further takes of the track were recorded. They had a seven minute limit. However, they couldn’t recapture the magic of the first take. That’s no surprise.
Green’s guitar and Hutcherson’s vibes state the main melody in unison, and are answered by Pearson’s subtle piano counterpoint. The texture glistens, shimmers and is always atmospheric, bewitching and haunting.
Quite simply, the solos are stunning. Green opens with single-note lines that showcase his trademark touch. He’s unfettered by excessive velocity, every note carries emotional weight, vocal-like phrasing and rhythmic precision. Pearson follows with a blues-tinged, delicate solo that uses minimal comping to let Cranshaw and Harewood’s quiet groove breathe. Then Henderson’s tenor saxophone adds a huskier, tougher tone that creates a striking yet seamless contrast to the track’s quiet, subtle and understated sheen. Finally, Hutcherson’s vibes roll like cool late night rain on a summer evening, floating above the rhythm section before returning to the haunting opening theme.
Shifting the energy away from the title track’s ambient weight, Green’s original composition ‘Jean De Fleur’ steps directly into fast-moving, blues-influenced hard bop.
Green and Henderson unite to create a driving uptempo theme. When the solos come round, Green unleashes blazing single-note runs. In doing so, he shows that his minimalist, lyrical style on the title-track was a deliberate stylistic choice rather than a technical limitation. Far from it. Green was a hugely versatile and accomplished guitarist. Then Henderson responds with explosive tenor phrasing, pushing the tempo with growls, inside-outside harmonic shifts and then rapid-fire motifs. Not to be outdone, Hutcherson matches the rhythmic velocity while maintaining harmonic clarity. The rhythm section of Cranshaw and Harewood keeps the track locked into a relentless, kinetic groove. In doing so, they play their part in a track that although very different from the album opener, showcases the ensembles’s versatility and talent.
Side Two.
‘How High The Moon’ was written by Morgan Lewis and Nancy Hamilton. This classic jazz standard was transformed into a vehicle for mid-tempo swing. It shows a very different side to a familiar and much-loved track.
Instead of relying on the typical bebop arrangement of this standard, the sextet approach the melody with a relaxed, bouncing feel.
Here, Green’s blues roots shine through. He reinterprets the harmonic changes using classic swing and bop phrasing, injecting blues inflections into a song often played at breakneck speed but with confidence and a fluidity. Henderson’s solo is inventive and exploratory, while Pearson grounds the track with lush, steady chords and melodic piano figures. The result is a masterful rework of a familiar jazz standard.
‘Nomad’ is best described a sprawling, minor key modal excursion composed by Pearson. It’s a complex and sophisticated composition that benefits from a mysterious, recondite, oriental-influenced motif that glides seamlessly over a driving, 4/4 walking bassline.
Here, the modal framework allows the soloists to stretch their legs. Henderson thrives and contrasts abound. His solo builds from a quiet melodic statements into raw, soaring, blistering climax. Hutcherson picks up on Henderson’s tail-end motifs, incorporating echo-like repetition into his mallets. Green weaves long, winding lines through the chords, and Pearson closes out the solo section with crisp, rhythmically inventive chords. The result is a twelve minute modal masterpiece that bookends ‘Idle Moments’ perfectly.
For anyone yet to discover the delights of Grant Green’s music, his classic album ‘Idle Moments’ is the perfect place to start. It’s his finest hour, and has just been reissued by Blue Note as part of their Essential Vinyl Series. It’s an album that’s one of the definitive triumphs of the Blue Note era and a high-watermark for jazz guitar.
It was anchored by Duke Pearson’s unhurried compositions, Bobby Hutcherson’s luminous, shimmering, glistening vibraphone, and Joe Henderson’s commanding and sometimes, soaring, blistering tenor saxophone. Green leads a sextet that manage to balance of late-night intimacy, bluesy soul, and structural elegance on his 1965 Magnus Opus ‘Idle Moments.’
‘Idle Moments’ is a rare triumph in the hard bop era. It’s an album defined as much by its quiet confidence and spaciousness as its technical prowess. Green’s unpretentious, blues-rooted single-note picking serves as the anchor for a brilliant band operating at the peak of their powers.
‘Idle Moments’ remains essential listening for jazz aficionados and guitar enthusiasts alike. For newcomers to Green’s music, ‘Idle Moments’ is the first step on a musical voyage of discovery. Enjoy the journey.
Grant Green – Idle Moments.
IDRIS MUHAMMAD – POWER OF SOUL.
Idris Muhammad – Power of Soul.
Label: Music On Vinyl.
Format: LP.
Drummer Idris Muhammad’s solo career began at Prestige, where he was also a member of the label’s house band. Truly talented and versatile, Muhammad was primarily a jazz drummer. However, he also played on everything from funk, fusion and soul to disco, jazz-funk, R&B and soul-jazz. Muhammad was Mr Versatility.
Before his solo career began he had already worked with some of the biggest names in jazz. This included Nat Adderley, Gene Ammons, George Benson, Rusty Bryant, Donald Byrd, Lou Donaldson, Charles Earland, Grant Green and Andrew Hill. However, in 1971 Muhammad went from sideman to bandleader.
On November 2nd’ 1970, backed by an all-star band he recorded his debut solo album ‘Black Rhythm Revolution!’ at the Van Gelder Studio at 445 Sylvan Avenue, Englewood Cliffs, New Jersey. It was produced by Bob Porter, and released in 1971.
On its release, ‘Black Rhythm Revolution!’ was reasonably well received. Soul-jazz sat side-by-side with a slight Latin influence and what’s best described as funky fusion. The followup would be quite different to ‘Black Rhythm Revolution!’
Later in 1971, on September ‘13th’ and ‘20th,’ Muhammad returned to Van Gelder Studio to record ‘Peace and Rhythm.’ Just like his debut, it was produced by Porter and featured giants of jazz including bassist Ron Carter, guitarist Melvin Sparks and Kenny Barron on electric piano. ‘Peace and Rhythm’ was released in 1972.
‘Peace and Rhythm’ was released to plaudits and praise. It was poppy with a mellow soul-jazz sound. However, the two-part ‘Peace and Rhythm Suite’ was very different. It was spacey, atmospheric, arrhythmic and innovative. The two tracks were way ahead of their time and have stood the test of time.
After the release of ‘Peace and Rhythm’ Muhammad left Prestige. The next stop for him was Kudu, a subsidiary of Creed Taylor’s CTI Records.
It was founded in 1967, and was a jazz label. By the time Muhammad released his debut album ‘Power Of Soul’ in 1974, Johnny “Hammond” Smith, Lonnie Smith, Grover Washington Jr, Esther Phillips, Hank Crawford and Eric Gale had all released albums on Kudu.
In March 1974, Idris Muhammad entered the Van Gelder Studio where Taylor recorded all of CTI Records and Kudu’s albums. Taylor produced ‘Power of Soul’ which featured an all-star band. This included bassist Gary King, guitarist Joe Beck, percussionist Ralph MacDonald and Bob James on Fender Rhodes and keyboards. They were joined by Grover Washington Jr on tenor and soprano saxophone and Randy Brecker on trumpet and flugelhorn. They played their part in what was a career-defining album for Muhammad.
‘Power of Soul’ was released to widespread critical acclaim in June 1974. Nowadays, the album is regarded as a high-water mark of soul-jazz fusion. It features just four tracks that last just under thirty-five minutes. The album combines seventies groove with a mesmeric balance between jazz sophistication, funk momentum and Taylor’s slick studio production.
Unlike some jazz-fusion albums, ‘Power of Soul’ wasn’t over-produced. It avoided the smooth and shiny sound of albums on other labels that haven’t stood the test of time. Instead, the album benefits from a raw, organic warmth which is anchored by Muhammad’s drumming. Aided and abetted by his all-star band, the result is a genre classic, ‘Power of Soul.’
Side A.
A reworking of Jimi Hendrix’s ‘Power of Soul’ opens the album. The rhythm section of Muhammad’s drums and King’s bass transform the track to a heavy, sassy, strutting, swaggering funk groove. Muhammad’s playing is in the pocket and his hi-hat is tight and injects a degree of urgency. Meanwhile, the rest of the band are allowed the freedom to showcase their considerable skills. Beck’s guitar works against the beat creating tension, while Grover Washington, Jr. delivers a blistering, soul-tinged saxophone solo. All this results in an incendiary opening track that reveals the album’s musical DNA. From here on in, Muhammad and his band will combine jazz in its purist form with uncompromising funk.
Bob James wrote ‘Piece Of Mind.’ It’s an atmospheric slice of cinematic soul-jazz. James sets the scene with lush Fender Rhodes chords and is joined by sweeping, spacious horns. As the track reveals its subtleties and secrets Muhammad combines crisp snare accents and subtle ride cymbal work. In doing so, he lifts and the sheer intensity of Washington Jr.’s soaring, spiralling soprano saxophone solo. Meanwhile, MacDonald’s percussion adds layers of rhythmic detail, and play an important part in this nine minute filmic epic.
Side B.
The tempo drops of the Joe Beck composition ‘The Saddest Thing.’ This ballad encourages one to reflect and ruminate. Beck’s guitar playing is clear and expressive and carries the primary melody over a gentle, swinging groove. Muhammad demonstrates his restraint and sensitivity so not to overpower the rest of the band. He almost caresses the snares and feathers the bas drum feathering. Then Brecker adds a warm, lyrical trumpet solo that accentuates the track’s melancholy and wistful mood.
‘Power of Soul’ saves the best until last. This is the Grover Washington Jr composition ‘Loran’s Dance.’ It opens with what’s without doubt, a truly iconic and haunting Fender Rhodes introductions in jazz-funk history. This gives way to a beautiful, mellow, laid-back groove. Muhammad adds downbeat accents creating an addictive momentum. Washington unleashes one of the finest tenor sax solos of his long and illustrious career, while Randy Brecker’s trumpet work sparkles over Gary King’s mesmeric bassline. During this ten minute opus, Muhammad and his band seamlessly sustain th groove and never lose an ounce of energy. It’s a musical masterclass.
Muhammad’s 1974 masterpiece ‘Power Of Soul’ stands as a definitive high watermark for jazz-funk and soul-jazz fusion. It captures a rare alignment of elite talent, visionary production, and cultural resonance.
On ‘Power Of Soul,’ Muhammad’s explosive yet effortlessly in the pocket drumming serves as the engine for the entire album, and shows that deep groove and technical virtuosity can coexist seamlessly.
Creed Taylor’s pristine production paired with Bob James’ sharp, cinematic arrangements elevated ‘Power Of Soul’ far beyond standard jam-session jazz, turning each track into a sculpted piece of funk architecture. The result was a career-defining album, ‘Power Of Soul,’ that nowadays, is regarded as a genre classic where jazz freedom is fused with funk grit and features the future DNA of hip-hop.
Idris Muhammad – Power of Soul.
JOHARI SALLEH – JAZZ DARI ANGKASAPURI.
Johari Salleh – Jazz Dari Angkasapuri.
Label: Audible Beauty.
Format: LP and Digital.
It’s no exaggeration to say that Johari Salleh is, without doubt, one of the founding fathers and greats of south-east Asian big band and broadcast jazz. He’s best known as the longtime conductor and arranger of Radio Television Malaysia’s Orkestra RTM. In that role, Salleh spent decades shaping the sound of Malaysian popular music from RTM’s broadcast complex in Kuala Lumpur.
A hugely talented trumpeter, Salleh was a pioneer of modern Malaysian music. He composed for radio, television and film. This is just part of the story. He penned dozens of popular songs across his long and illustrious career. However, Salleh’s lifelong passion was jazz, and his live performances were legendary.
Sadly, despite being such an influential figure in Malaysian music, Salleh is almost unknown outside of Malaysia and Indonesia.
That’s where the founders of the Habibi Funk label first came across Salleh’s music. They were DJ-ing Malaysia and Indonesia when they first heard Salleh’s music. They were immediately won over by the music of a true musical pioneer. They realised that music this good deserved a wider audience.
When the founders of Habibi Funk decided to launch a new imprint, Audible Beauty Records, the second release was Johari Salleh’s album ‘Jazz Dari Angkasapuri.’ It was recently reissued on vinyl and digital. This is a welcome release as only a few dozen copies were pressed in Malaysia in the seventies.
‘Jazz Dari Angkasapuri’ showcases a truly talented trumpeter, supreme soloist, bandleader and composer. Salleh was a musical visionary.
Over fifty years after its initial release, ‘Jazz Dari Angkasapuri’ features rare studio sessions that, for far too long, had sat in the archives. The nine tracks on the album feature Salleh’s trademark sound. For newcomers to his music, this is a magical and mesmeric mixture of traditional Malay modal sensibilities, late-sixties and seventies big band brass, post-bop chordal architecture and not forgetting the irresistible and infectious sound of soul-jazz. Sometimes, though, the music is melancholy and heartachingly beautiful. Let’s dig deeper into the delights of ‘Jazz Dari Angkasapuri.
Side A.
‘Johana’ opens the album, and straight away, showcases the sound of Salleh’s warm, rounded trumpet and flugelhorn. As the spacious, lyrical horn glides over a gentle mid-tempo groove, this add to the melancholy and heartachingly beautiful sound. Soon, the track sounds like a tribute to classic European broadcast jazz. Salleh’s arrangement features lush counter-melodies. They come courtesy of the woodwind section. The result is a spellbinding track, a musical amuse-bouche, and a tantalising taste of what’s to come on ‘Jazz Dari Angkasapuri.
In English, ’Khayalan’ translates as ‘Fantasy.’ It’s a tracks that combines atmospheric modal jazz with the complexity of hard bop and elements of Southeast Asian melody. Crucial to the sound and success of the track are cascading brass stabs which combine with subtle fills from the Fender Rhodes. The result is a cinematic soundscape that vers between illusory, hopeful, joyous and occasionally wistful. It’s a musical roller coaster par excellence.
Salleh and his band move through the gears on ‘Erie.’ There’s a noticeable increase in rhythmic intensity. Drummer Julio J. Villenguez’s playing is crisp and in-the-pocket and is complimented by the percussion. The track moves between 4/4 swing and Latin jazz accents. Later, Salleh takes centrestage and unleashes one of his best trumpet solo. It’s a beautiful and blues-tinged and he’s always in control. The rest of the band raise their game. The piano plays an important role as so the horns that anchor the arrangement and accompany and compliment Salleh during the chorus. It’s a masterful performance from Salleh et al and showcases his talents as a composer and arranger.
‘Mengapa’ which translates as ‘Why’ closes side A. The tempo drops on this thoughtful-sounding soulful ballad. It encourages refection as one listens to this cinematic-sounding and spacious track. It’s undoubtably one of the highlights of the album, and features one of Salleh’s best performances. He lets notes hang in the air as if posing questions on this poignant track knowing that the answers will be difficult ones.
Side B.
’Hitam Manis,’ translates as ‘Sweet Black’ in English. From the opening bars, it sounds as if it was written for either a western or mid-seventies television drama. The energy and urgency is palpable throughout this three minutes track. It combines jazz-funk sway with a spirited groove. The arrangement is driven along by a walking bassline with the rhythm guitar chops and bright stabs of brass adding to this upbeat and celebratory filmic track.
In English, ’Pesan Ku’ translates as ‘My Message.’ It’s very different from the previous track and is best described as an exercise in tension and release. This is apparent from the sibylline piano introduction. After that, the track unfolds revealing a rich ensemble arrangement. The horn section moves as one and gives way to lyrical solos. They trade phrases in a classic call-and-response format during what’s a truly memorable track.
‘Bila Masa heads in the direction of cool jazz from the get-go. The cchord progressions are silky smooth and Salleh’s trumpet playing is fast, precise sometimes muted and always effective. Just like on previous tracks, Salleh’s talents as an arranger, conductor are and composer are on display. The tracks moves seamlessly between soft, intimate and understated to a much bigger grander sound where the band reaches a dramatic climax.
‘Anda’ means ‘You’ in English, and here, Salleh steps back and lets the rhythm section take centerstage. They’re aided and betted by a series of punchy brass arrangements, syncopated rhythm breaks and an infectiously catchy groove. The result is a breathtaking performance that showcases how Salleh seamlessly fused Western post-bop structures with Malaysian melodic sensibilities.
‘Mengapa Berduka’ closes ‘Jazz Dari Angkasapuri’ on a beautiful but melancholy and emotive high. That’s no surprise as the track title translates as ‘Why Grieve.’ Again, there’s harmonic themes and key to the sound and success of the track are the lush orchestration which sweeps over a slow, deliberate rhythm. It’s a fitting finale that more than hints at sadness, loss, hurt but also hope and a happiness and brings this lost opus to a filmic close.
‘Jazz Dari Angkasapuri’ is welcome reissue and the perfect introduction to the music of Johari Salleh. He was a pioneer of modern Malaysian music who was an arranger, composer, conductor, bandleader and trumpeter.
His music was groundbreaking as he seamlessly switched between and fused elements of traditional Malay modal sensibilities, south-east Asian jazz, late-sixties and seventies big band brass, post-bop chordal architecture and not forgetting the irresistible and infectious sound of soul-jazz and Latin jazz. Add to the mix modal jazz and the orchestral sound that he pioneered with Radio Television Malaysia’s Orkestra RTM. Salleh’s sound was unique, complete and innovative.
‘Jazz Dari Angkasapuri’ is the perfect introduction to Salleh’s music. It’s also a long-overdue reminder of the mid-century broadcast jazz sound of Radio Television Malaysia. For anyone with even a passing interest in jazz music, ‘Jazz Dari Angkasapuri’ is essential listening and a reminder of a true musical pioneer, Johari Salleh.
Johari Salleh – Jazz Dari Angkasapuri.
J JAZZ: DEEP MODERN JAZZ FROM JAPAN VOLUME 5
J Jazz: Deep Modern Jazz From Japan Volume 5.
Label: BBE.
Format: CD.
All good things come to an end. Sadly, that was the case with BBE Music’s critically acclaimed and iconic J Jazz series. The fifth and final volume in the series was released recently. It’s a series that’s been a labour of love by curators Tony Higgins and Mike Peden. They’ve devoted many years mapping out the oft-overlooked, once-hidden, highly coveted world of Japanese jazz. A final tantalising taste can be found on ‘J Jazz: Deep Modern Jazz From Japan Volume 5.’
Some UK reissue labels often throw together a compilation using unreleased tracks and alternate takes. These compilations are scraping the bottle of barrel, and attempt to make a quick buck. That isn’t Higgins and Peden’s style.
Instead they’ve dug deep and discovered fourteen extremely rare tracks. This includes independent pressings, private releases, and legendary live sessions. The result is a fitting farewell to BBE Music’s landmark J Jazz series. Let’s look more closely at the compilation
Disc One.
Aoyama Gakuin 101 opens the compilation with ‘Fervor.’ This is a holy-grail private press that was released in 1975. It was a gift from Aoyama Gakuin University to its graduating class. This track epitomises just what makes J jazz so unique. It’s a big band ensemble record, and sees this powerhouse unleash psychedelic jazz-fusion. They fuse hard-driving rhythmic shifts with a fiery, competitive energy that feels completely untethered from mainstream commercial constraints. It’s a bold, explosive statement to start the final chapter in the J Jazz series.
Pianist Hideo Ichikawa cools down the temperature with ‘On The Trade Wind.’ It was the title-track to his 1977 album, and is a beautifully serene piece of cinematic modern jazz. The track emphasises and highlight the importance of space, melody, and texture over pure speed. Ichikawa’s delicate touch on the keys acts like a gentle breeze, backed by a rhythm section that floats effortlessly underneath. It showcases the deeply reflective, impressionistic side of the 1970s Japanese scene.
‘Eastern Legacy’ is a track from Toshiyuki Honda and Burning Waves’ 1981 album ‘Spanish Tears.’ Stylistically it’s a very different track. It’s a high-octane combination of fusion and jazz-funk. Led by saxophonist Toshiyuki Honda, the track features razor-sharp horn arrangements, the tightest of rhythm sections and blistering energy. The result is an infectious, white-hot groove that showcases the immaculate mixture of studio polish and technical perfectionism that Japanese musicians brought to jazz-funk.
Masaru Imada’s ‘World Line’ is a fifteen minute epic. It’s a masterful exercise in tension and release. Rooted in deep, head-nodding soul-jazz, the track evolves slowly over a heavy, hypnotic modal groove. Imada’s piano work is patient but incredibly soulful, allowing the accompanying horn and percussion players to build towards an intense, ritualistic atmosphere that rewards long-form listening.
Crystal Zone’s ‘Rai Rai’ is an extremely rare ethnic jazz-crossover piece. It’s taken from the 1975 private press album ‘Tachibana Vol. 1.’ The track stands out for its hypnotic and mesmeric use of unique tonal texture. They move far away from standard Western jazz structures toward something far more esoteric and mystical. It’s brief, tightly wound, carries a striking, almost haunting atmosphere and is one of the highlights of the compilation.
‘Nijimasu (Part 1 and 2)’ is taken from Masahiko Sato Trio + Akira Miyazawa’s ‘Essence Of Jazz’ album. Quite simply it’s a musical masterclass in angular post-bop geometry that lasts twelve magical minutes. There’s an unpredictability to a track that’s filled with sharp dynamic contrasts and lightning-fast improvisational dialogues. It’s best described as a captivating, compelling and intellectual workout that’s unforgettable.
Hot Session’s ‘Run After’ closes disc one. It was taken from the group’s eponymous sophomore album. Sadly, it was also their Swanson. Written by bassist Mitsuaki Furuno, the energy never drops within what was a driving, classic modal framework. The rhythm section creates a breathtaking sense of forward momentum, and solos are unleashed with an urgent, kinetic velocity. In doing so, this results in a truly memorable example of the straight-ahead acoustic jazz that continued to thrive in Tokyo’s underground jazz clubs despite the increasing popularity of fusion.
Disc Two.
Opening disc two is Seiichi Nakamura Quintet’s ‘Judy’s Samba.’ This ten minute epic is from their 1974 album ‘First Contact.’ The track is, without doubt, one of the highlight of the compilation. It’s a jazz-dance classic where the pace is relentless. Bandleader and saxophonist Nakamura is like a musical Pied Piper as he leads his quintet through a fast-paced, infectiously-catchy samba rhythm. It’s impossible not to tap your feet, and be moved by the dizzying percussion and euphoric horns that play their part in this joyous and uplifting slice of J Jazz.
Richard Rogers composed the much-covered ‘My Favorite Things.’ John Coltrane’s classic modal version is regarded as the definitive version. However, pianist Yasuhiro Kohno breathes new life into the track on what’s a personal take on the much-loved classic. With his Trio, this cover permeates an intimate, deeply emotive lyricism that slowly builds into a powerful, undulant storm of acoustic energy.
Masahiko Satoh’s Garandohs ‘History of Jazz’ is a sprawling, avant-garde epic. It’s wild, theatrical and a deeply tribal piece. It subverts traditional jazz structures by the use of complex polyrhythms, vocal chants, and abstract sonic collisions. It’s a challenging, groundbreaking track that pushes musical boundaries to their limits and beyond. In doing so, it shows how willing Japanese musicians were willing to experiment and deviate from musical norms.
Mile and Half released their self-titled debut album on 1988. It’s an extremely rare album, and is coveted by collectors of J Jazz. The title track is a perfectly balanced, mid-tempo piece that lets the listener breathe after Satoh’s sonic storm. It’s a track that bridges the gap between deep modal post-bop and subtle, late-night fusion textures. It relies on a beautifully constructed central melody and elegant, flowing solo work that conjures up the images of a late night spent in a smokey jazz club.
Keyboardist Mikio Masuda was an early adopter of the synths and electronic keyboards being developed by Japanese and American companies in the early seventies. He puts them to good use on the albums he recorded during the seventies and early-eighties. This included ‘Silver Shadow’ in 1980. It featured ‘Sonic Barrier.’ It’s a short, sharp burst of stunning jazz-funk. Masuda’s keyboard playing is tight, rhythmic, and complemented by a hard-hitting slap-bass groove. The result is one of the standout tracks on the album, and one that jazz-funk DJs and collectors will appreciate and enjoy.
They say never meet your heroes. Not only did Tomoki Takahashi meet Elvin Jones, he recorded an album with him in 1980. Thos was ’Another Soil’ from the 1980 album by Tomoki Takahashi meets Elvin Jones. The title-track was on of the highlights of the album. Jones unleashes his trademark thunderous, polyrhythmic rolling style, while Takahashi to deliver a raw, almost visceral and blistering saxophone performance. The result is an explosive, post-bop collaboration that’s essential listening.
Closing the final instalment in BBE Music’s J Jazz series is the Motohiko Hino Quartet’s ‘Olive’s Step.’ It’s taken from the 1975 album ‘Toko – Motohiko Hino Quartet At Nemu Jazz Inn.’ It’s a ten minute Magnus Opus that acts as the perfect summary of the J Jazz ethos. The Quartet are highly proficient and unleash a performance that is both hugely energetic and extremely expressive. The track reaches an ecstatic peak before bringing critically acclaimed five-volume series to a triumphant end.
‘J Jazz: Deep Modern Jazz From Japan Volume 5’ features a mixture o fourteen independent pressings, private releases, and legendary live sessions. It’s quality all the way on a compilation that’s full of rarities. The compilation features some familiar names from Japanese and American jazz. They play their part in what’s a truly eclectic compilation that documents how J Jazz changed and evolved between 1970 and 1980. It’s also a compilation that oozes quality.
Higgins and Peden have dug deep into the world of J Jazz one last time, and the compilation certainly doesn’t disappoint. Far from it. They’ve kept the best until last and are bowing out on a high. This is a fitting farewell to BBE Music’s landmark J Jazz series.
However, maybe ‘J Jazz: Deep Modern Jazz From Japan Volume 5’ won’t be Higgins and Peden’s swan-song, and the pair will return for what will be a welcome encore. One can only hope that’s the case.
J Jazz: Deep Modern Jazz From Japan Volume 5.
CATHY HAMER – LADY FULL OF DREAMS.
Cathy Hamer – Lady Full Of Dreams.
Label: Numero Group.
Format: Vinyl.
Over the last few years, Numero Group have unearthed a plethora of hidden gens. They’ve done it again, and have rediscovered one of the most exciting discoveries of recent years, Cathy Hamer’s ‘Lady Full Of Dreams.’ It’s a stunning album.
‘Lady Full Of Dreams’ was recorded at sessions during 1979 and 1980 at Threshold Recordings. This was a custom bluegrass studio hidden in Roanoke, Virginia. Sadly, the eleven songs recorded never made it past the test-pressing phase. They were ghosts of the “me decade’s” fading hippie hangover, completely lost to time until now.
Belatedly, music lovers have the opportunity to hear ‘Lady Full Of Dreams.’ Quite simply, the album is an absolute revelation. It occupies a gorgeous, sun-dappled space right at the intersection of Laurel Canyon folk warmth, soft-rock polish and has a elements of femme-folk, cosmic American music and even a breezy Caribbean-tinged sound. It’s heartbreaking that ‘Lady Full of Dreams’ lay unheard since 1980.
Let’s dig deeper into ‘Lady Full Of Dreams,’ Hamer’s long-lost musical masterpiece.
The title track opens the record with a declaration of intent. Built around a beautifully fluid acoustic guitar progression, Hamer’s voice immediately stands out. It’s is delicate, elegiac, impeccable, and echoes the phrasing of early Joni Mitchell. There is an unmistakable late-sixties optimism here, even as the eighties loom on the horizon. The production introduces a gentle, rolling rhythm that feels like driving down a winding coastal highway. It is a stunning opener that sets a high-water mark for the rest of the album.
On ‘The Hurt Is Still There’ it’s a case of don’t let the melancholy title fool you; Hamer possesses a sanguine charm that refuses to let the gloom take over. While the lyrics dive into the lingering aches of a fractured relationship, the musical arrangement carries a soft, country-soul lilt. A subtle pedal steel or slide guitar element weaves through the background, cushioning the blow of the lyrics. It’s a masterclass in contrasting heavy emotional weight with a soothing melodic framework.
‘I’m Missing You’ leans heavily into the private-press singer-songwriter aesthetic. It’s incredibly intimate, and is almost like sitting in a living room in Roanoke while Hamer delivers a soul-baring vocal. Every breathtakingly beautiful nuance is captured. There’s a simplicity to the recording. It sounds unhurried and there some of the most intricate fingerpicking on the entire album. Quite simply this oft-overlooked track is one of the highlights of ‘Lady Full of Dreams.’
On ‘Confusion Blues,’ Hamer moves through the gears, injecting a degree of playfulness into the album. It’s a breezy, acoustic jazz-folk hybrid, and showcases Hamer’s versatility as a guitarist. She utilises her jazzy chord shapes and a swinging cadence, ensuring the album’s pace is dynamic and engaging.
‘December Dreaming’ is, without doubt, a standout centre-piece of the album. It seems the musical landscape move from the sun-kissed California coast to a colder, more reflective Appalachian winter. The melody is hauntingly beautiful, driven by a melancholy chord progression that captures the isolation and quiet beauty of the winter months. Hamer’s vocal performance here is among her most evocative, carrying a shivering vulnerability.
B-Side.
‘When I Fall in Love’ is an incredibly introspective ballad. It explores the terrifying and exhilarating stakes of emotional vulnerability. The arrangement is sparse, letting Hamer’s pristine vocals occupy the absolute centre of the mix. Fans of Judee Sill. Linda Perhacs or Vashti Bunyan will enjoy and admire the quiet, reverent space this song creates.
It’s all change on ‘Hypnotise.’ The album beads in the direction of yacht rock. It’s a smooth, slick seventies sound that’s timeless. However, there’s a rhythmic sophistication to the track. This is a welcome reminder of the slicker studio trends of the eighties. The groove is tight, the acoustic guitar is crisp, and the vocal harmonies create a warm, enveloping wall of sound. This is fitting given the song’s title.
‘Promises’ brings back a cosmic Americana flavour to the album. The song features a rolling, country-rock tempo that wouldn’t feel out of place on one of Emmylou Harris early albums. It is a song about expectations and letdowns, and the lyrics are delivered with a mature, clear-eyed perspective. This highlights Hamer’s strength as a lyricist and vocalist.
‘Untalkable Thoughts’ is, easily, the most avant-garde title on ‘Lady Full Of Dreams.’ It also delivers one of its most emotionally direct experiences. The song tackles the frustration of being unable to articulate profound feelings to someone you love. The melody twists and turns unpredictably, mirroring the internal knot of thoughts Hamer is attempting to unravel. It’s a stunning, soul-baring and memorable song that lingers long in the memory.
‘Loving At the Feeling’ is a beautiful genre-melting track that’s tucked away late on the album. It’s well worth the wait. Hamer fuses her trademark folk sound with a soulful groove. The song feels effortless as it flows and floats elegantly and effortlessly on a bed of warm acoustic strumming and a laid-back bassline. This penultimate track, finds this hidden gem on an album winding down, and continues to reveal ‘Lady Full Of Dreams’’ emotional arcs with a sense of peaceful resolution and contentment.
Jackson Browne closes ‘Lady Full Of Dreams.’ It’s best descried as a literal and figurative nod to one of the era’s definitive songwriters. The songs captures the similar type of wistful, poetic melancholy that Browne himself championed in the late seventies. In doing so, it serves as a beautiful time capsule of a a young songwriter in Virginia processing her world through the lens of the musical giants of her time.
As the final notes of ‘Lady Full Of Dreams’ fade, one can’t help wondering how this oft-overlooked and hidden gem of an album remained locked in a vault for neigh on half a century. The album should’ve been the start of a long and illustrious career for Hamer. Sadly, that wasn’t to be.
However, somewhat belatedly Numero Group’s reissue of ‘Lady Full Of Dreams’ allows the wider record buying album to discover a truly timeless and flawless album. It’s music to behold.
The eleven tracks on ‘Lady Full Of Dreams’ veer between beautiful, cinematic, elegiac, emotive and exhilarating to haunting, melancholy and wistful. Other times they’re soul-baring and thought-provoking. Always the songs are engaging. That’s the case throughout as Hamer moves seamlessly between musical genres.
There’s everything from cosmic Americana, country, femme-folk, jazz, Hamer’s trademark folk plus elements of soul and even a diversion via seventies yacht rock on Lady Full Of Dreams.’ It’s a flawless hidden gem that for many music fans, and is a holy grail discovery for fans of femme-folk, private-press treasures and cosmic American music. I’ll go further. ’Lady Full Of Dreams’ is one of the reissues of 2026 so far. Cathy Hamer’s lost classic is a timeless reminder of how music used to sound, and belongs in the collections of anyone who loves and appreciates good music.
Lady Full Of Dreams.
HILL ST. SOUL – NASALILFYA (THANK YOU).
Hill St. Soul – Nasalifya (Thank You).
Label: Shanachie Records.
Format: CD.
In many ways, Hilary Mwelwa is an accidental singer-songwriter. At the time she recorded a demo she was attending London’s Westminster University and studying towards a degree in biological sciences. That demo was the start of a musical career that’s already spanned twenty seven years.
Since 1999, Hil St. Soul has been the stage moniker of Zambian-born, UK-based singer Mwelwa.
The demo resulted in Mwelwa joining forces with songwriter and producer Victor Redwood Sawyer, and the pair used the moniker Hill St. Soul to record their debut album ‘Soul Organic.’
When ‘Soul Organic’ was released to critical acclaim in 2000, it was to widespread critical acclaim. The album was a magical mixture of classic soul, R&B and even smooth jazz. At the end of the year, it was on many critics lists of best albums of the year. Hill St. Soul were hailed as a group with a big future ahead of them.
Soon, Hill St. Soul were leading lights of the UK’s neo-soul scene. In many ways, it was no surprise when Hill St. Soul signed to Shanachie Records. This became their musical home.
In 2002, they released their much-anticipated sophomore album ‘Copasetic and Cool.’ Released to plaudits and praise, it charted in the US R&B charts.
Then in 2006, Hill St. Soul released ‘SOULidified.’ It was their first album of original material. It was well received upon its release.
Two years later, ‘Black Rose’ was released in 2008. It introduced Hill St. Soul’s music to a wider audience, and in 2009, the compilation ‘Release’ was released.
Little did anyone realise it would be thirteen years before Hill St. Soul returned with their fifth studio album in 2022. This was ‘Back In L♥ve.’ Critics hailed the album one of the group’s finest offerings. The group were back with a bang.
Hill St. Soul continued to perform and record, and in 2024 enjoyed one of their biggest hits with ‘Back In Tha Day.’ However, it would be another two years until Hill St. Soul released their much-anticipated sixth album.
This was ‘Nasalifya (Thank You),’ which was recently released on Shanachie Records. It was produced primarily alongside longtime collaborator Regi Myrix. It’s a musical masterclass where sensual neo-soul is combined with British underground grit and classic American urban adult contemporary sensibilities. This proves to be a potent and heady mix.
The album opens with ‘Back In Tha Day’ an immediate dose of nostalgic medicine. This opener acts as an introductory bridge from her early 2000s material to the present day. Built over a warm, looping bassline and crisp boom-bap rimshots, Mwelwa uses her honey-toned mid-range to reminisce about simpler times. It’s an effortless, breezy track that firmly plants the album’s roots in traditional R&B ground.
‘Good Vibes’ proves to be true to its name. Hill St. Soul up the tempo. What follows is a magnificent mid-tempo musical rollercoaster. The production relies heavily on an infectious, syncopated rhythm section and bright Rhodes keyboard accents. It serves as an anthem for emotional boundaries, where Mwelwa’s vocals glide over the beat, radiating peace and dismissing negative energy with the cool confidence of a veteran.
‘Better With Time’ is a sweeping, cinematic soul ballad that serves as a vocal standout. Spanning nearly five minutes, the track gives the arrangement room to breathe, slowly layering organic strings and warm bass beneath her. The lyrics explore self-growth and surviving life’s unpredictable hurdles, proving that both her artistic perspective and her stunning vocal control have only grown more refined over the last two decades.
‘Vibrate High’ features Lina Loi and brings in a beautiful vocal contrast. This track leans into a slightly more contemporary UK R&B aesthetic, balancing a heavy, sub-driven groove with ethereal background harmonies. The interplay between Mwelwa and Loi is seamless, trading verses that urge the listener to elevate their mindset and keep their frequency high.
‘Can’t Get Over You’ leans heavily into a classic nineties-inspired slow jam format. The melody is instantly sticky, capturing the heavy, intoxicating feeling of an unbreakable romantic bond. Mwelwa shifts dynamically from deep, breathless verses to a soaring, Whitney Houston-esque chorus that showcases her upper registry.
On ‘The System Is So Broken’ there’s a shift from personal reflection to social commentary. Set over a gritty, slightly jazz-infused baseline, this track feels urgent and bluesy. It’s a grounded reminder of Hil St. Soul’s ability to tackle structural injustice and societal fatigue without sacrificing the smooth, melodic core of her music.
‘With You’ is a tender, acoustic-leaning love letter. Stripping back the heavy percussion, the track relies on intimate guitar plucks and layered vocal harmonies. It’s a softer, vulnerable moment placed precisely in the middle of the album, and highlights her ability to make a simple love song feel deeply personal and lived-in.
‘Trip’ is a head-nodding, slightly psychedelic neo-soul jam. It features a rolling, unhurried bass groove that evokes the classic era of Erykah Badu or Jill Scott. The track plays with space, letting the instruments drop out during key lyrical moments to showcase Mwelwa’s impeccable rhythmic timing.
‘I’m Done’ acts as the ultimate “moving-on” anthem, this track provides a sharp, empowering punch near the end of the album. The production is sharp and assertive, marked by a crisp snare and driving bassline. Mwelwa delivers her lines with a definitive, self-assured bite, drawing a firm line underneath a toxic relationship.
‘Roll On’ is a driving, feelgood cruising track built for late-night drives. It carries a subtle, four-on-the-floor percussive undertone that nods quietly to the UK garage and soulful house scenes without fully leaving its R&B foundation. It’s an optimistic track about forward momentum and letting the past wash away.
‘Nasalifya’ translates to ‘Thank You’ in the Zambian vernacular. It’s the grand finale and titular masterpiece. Heavily spiritual and rooted in her heritage, the track opens with deep, reflective musings. Over a gorgeous, slow-burning soul arrangement, she honours the ancestors, trailblazers, and history-makers who paved the way. The repeating refrain of “Nasali fya” serves as a hypnotic, communal mantra of pure gratitude, bringing the record to an emotionally resonant, stunning conclusion.
‘Nasalifya (Thank You)’ isn’t just a triumphant return but a statement of longevity. It skips passing trends in favour of timeless, beautifully crafted UK soul, reminding listeners exactly why Hilary Mwelwa remains a foundational voice in the neo-soul genre. For old fans and newcomers to Hill St. Soul’s music ‘Nasalifya (Thank You)’ is an album to add to your collection.
If you’re new to Hill St. Soul’s music, check out their debut alum ‘Organic Soul.’ It’s a genre classic that has stood the test of time and is the perfect companion to ‘Nasalifya (Thank You).’
Hill St. Soul – Nasalifya (Thank You).
ANGRY APPLE – CRISPIN.
Angry Apple – Crispin.
Label: Cold Busted.
Format: Vinyl.
With the release of ‘Crispin’ on the legendary instrumental hip hop and downtempo label Cold Busted, the producer known as Angry Apple makes a major splash with his much-anticipated debut album.
While Angry Apple has been quietly dropping atmospheric singles and EPs for years, ‘Crispin’ is the album his legion of fans knew he was capable of recording. It’s his first full full-length statement, and a mighty impressive one at that. ‘Crispin’ is a fourteen track album that showcases a signature blend of raw, texturised beats and deeply refined mood-setting.
It’s a masterclass in dusty, instrumental hip-hop and lo-fi beats. True to the Cold Busted’s signature aesthetic, the project blends raw, MPC-driven drum programming with late-night jazz cuts, warm ambient blankets, and deeply refined moods. Here is a track-by-track breakdown of how this fourteen track sonic journey unfolds:
A-Side.
‘7393B3 (8pm)’ is the perfect curtain-raiser. Set to a timestamp that feels exactly like twilight, this track introduces the record with crackling vinyl hiss, a slow-creeping bassline, and warm Rhodes piano chords. It establishes the hazy, home-studio atmosphere immediately.
‘A8 Shuttle’ moves at a slightly prodded tempo, this track evokes the feeling of staring out the window of a late-night commuter train. The drums are crisp, paired with a repeating, hypnotic melody loop that grounds you into the groove.
‘Loook’ is one of the standout tracks on side one. It features a beautifully chopped jazz sample that slips slightly behind the beat. This gives it that unquantised, human feel. It’s a head-nodding, intricately layered, and deeply nostalgic sounding track.
‘Oxygeneration’ slows the pulse down, breathing spacious, atmospheric ambient pads over a punchy, heavy kick-drum. It feels lighter than the preceding tracks, acting as a breath of fresh air for the mid-album stretch.
‘Dream02’ Is short, sweet, and floating. Living up to its name, Dream02 plays like a hazy vignette. It leans heavily into warm synth filters and reverb-soaked melodies that drift across the soundscape before dissolving.
‘Ergo’ returns to a more classic, boom-bap rhythmic structure. The drum texture here feels incredibly raw and tactile, driving forward a looping, melancholic horn or string phrase that lingers long after the track ends.
‘Fading’ marks the literal midpoint of the record, Fading features a gorgeous, downcast melody that mimics the feeling of physical exhaustion or slipping into sleep. The highs are rolled off perfectly, giving it a beautifully muted, underwater texture.
B-Side
‘Hugs’ is, without doubt, the emotional high point of the B-side. It introduces a cozy, soul-infused vocal snippet or chord progression that wraps completely around the listener. It’s incredibly comforting and showcases Angry Apple’s ability to inject genuine warmth into synthetic patterns.
‘Cloudy Day’ is the longest cut on the album at nearly four minutes. It gives the producer room to breathe and build, layering rainy-day field recordings beneath an evolving jazz-guitar loop and a crisp, snapping snare.
‘Ubak’ shifts the energy slightly, utilising a bouncing, syncopated bass groove. The percussion details here are intricate, littered with subtle rimshots and shakers that keep the ears locked in.
‘Spirit Water’ is a fluid, cascading track driven by shimmering keys that mimic the motion of water. It leans into a more chilled, meditative zone, stripping back the aggression of the drums to let the melodic ambiance lead the way.
‘When I Wake Up’ is the morning-after track. After a long sequence of late-night moods, this slice offers a slightly brighter, waking-up perspective. The melody is optimistic, framed by a classic, dusty drum loop that feels incredibly grounding.
‘Freezy 99’ is a playful, slightly colder texture. This track relies on crisp, metallic percussion hits and a sharp, rhythmic synth loop. It’s an energetic, rhythmic palette cleanser just before the grand finale.
‘Night Feels’ is the ultimate closing statement. It loops the record right back into the darkness where it started. Leaving you with a gorgeous, sprawling, late-night groove, it rings out with ambient hiss and a lingering sense of peace.
It’s no exaggeration to say that ’Crispin’ is a phenomenal debut album from the truly talented Angry Apple. It’s an album that balances raw MPC grittiness with elegant, late-night jazz arrangements. ’Crispin’ a cohesive, beautifully paced listen that firmly cements Angry Apple as an exciting new voice in the lo-fi beat scene.
Angry Apple – Crispin.
LOS RETROS-ODISEA.
Los Retros-Odisea.
Label: Stones Throw Records.
Format: Double Vinyl.
Mauri Tapia, operating under the moniker Los Retros, has officially broken past his bedroom-pop cocoon. Released in April 2026 on Stones Throw Records, ‘Odisea’ marked the 25-year-old Oxnard multi-instrumentalist’s highly anticipated debut full-length album. It represents a massive, intentional pivot away from his original dusty, lo-fi “sad boy indie” sound.
For anyone expecting a carbon copy of his 2019 gold-certified hit ‘Someone To Spend Time With,’ Odisea will come as a huge surprise. Tapia has completely traded in his humble four-track living room sonics for a pristine, hyper-polished home studio setup.
The primary heartbeat of this record is 1980s Japanese City Pop fused seamlessly with seventies and eighties jazz fusion, smooth Latin American soft rock, synth pop and more than a hint of yacht rock.
Odisea is a meticulously crafted 12-track journey that completely alters the trajectory of Tapia’s career. Moving systematically through the album reveals a gorgeous, jazz-fused sonic landscape heavily inspired by 1980s Japanese City Pop.
Side One.
The title track pulls double duty as an intro and a mission statement. Kicking off with pristine synth washes and a driving, slap-bass groove, it immediately signals that the dusty, four-track living room production is gone. It establishes the high-fidelity, neon-lit nighttime aesthetic that defines the whole record.
‘The World’ leans heavily into late-seventies jazz fusion. Tapia showcases his growth as a multi-instrumentalist here, layering shimmering Rhodes electric piano keys over a deceptively complex, uptempo rhythm. His vocals are smooth, floating effortlessly above a tight, professional rhythm section that he engineered entirely by himself.
‘Shape of Things to Come’ is a breezy, mid-tempo track that feels like a nod to classic Latin American soft rock groups of the eighties. The melodic hooks are incredibly sweet, but the underlying drum work and sophisticated chord changes give it a maturity that keeps it from feeling like simple radio pop.
‘Cielos’ is the first track to strongly highlight Tapia’s spiritual and personal growth. The track is sung primarily in Spanish, and features gorgeous, cascading electronic synths. It’s a track that feels bright, optimistic, and is intensely focused on a sense of peace, reflecting Tapia’s current headspace as a family man grounded in faith.
Side Two.
‘Doves’ features Hikari, and is one of the longest and most ambitious tracks on the record. It’s also a standout track. That’s because of the addition of Japanese vocalist Hikari who elevates the song into a true cross-continental piece of art. Her airy, elegant vocals blend seamlessly with Tapia’s lush arrangements, sounding like a forgotten Tokyo late-night FM radio classic.
‘Sobre Las Ruinas’ translates into ‘Upon the Ruins,’ and introduces a bit of beautiful melancholy back into Tapia’s sound. However, he handles it with a much more refined touch than his earlier work. The bassline anchors a hypnotic, slow-burning groove that feels incredibly cinematic.
‘Outskirts’ shifts the energy back up with a punchy, driving synth-pop rhythm. It captures the exact feeling of cruising down a coastal California highway at dusk. The synth hooks are sharp, infectious, and stand out as some of the most memorable earworms on the first half of the record.
Side Three.
‘Just Us’ is a deeply intimate, romantic cut that serves as a direct window into Tapia’s personal life. The track utilises warm, vintage soul textures mixed with a smooth jazz backdrop. It feels incredibly tender, operating as a soulful love letter wrapped in incredibly tight, sophisticated production.
‘Joven Pobre y Sabio’ is a stunning and stylistic pivot translating to ‘Young, Poor, and Wise.’ This track marries a foundational Bossa Nova rhythm with smooth City Pop melodies. Tapia’s vocal delivery here is incredibly relaxed and confident, proving he can navigate intricate global rhythms without breaking a sweat.
Side Four.
‘Monte Calvario’ is an atmospheric, deeply contemplative piece. Musically, it is layered with dense, rich synth pads and subtle guitar work that feels almost ambient at points. It’s a gorgeous, spiritual breather on the back half of the album that shows Tapia isn’t afraid to let his arrangements breathe.
Quite simply, ‘Secret Admirer’ is the undisputed crown jewel of the album. This track perfectly encapsulates the entire thesis of ‘Odisea.’ It features a fiercely funky, irresistible bassline, bright keys, and a massive, infectious chorus. It bridges the gap between old-school funk, modern indie, and vintage City Pop effortlessly.
Closing ‘Odisea’ is ‘爆ぜるもの,’ which features Japanese City Pop royalty Hitomitoi. It’s the grand finale of a genre-melting album of cross-cultural authenticity. This track closes the album on a spectacular high note. It is a full-circle moment where the Oxnard bedroom-pop pioneer is officially validated by the very scene that inspired his new creative chapter.
‘Odisea’ which translates to Odyssey, accurately reflects Tapia’s personal journey over the last few years. He’s now married, a father of two daughters, and grounded in a renewed sense of faith and purpose, his music sounds like that of an artist who is finally at peace with his direction. The result is a grownup musical masterpiece.
While some early fans might miss the gritty, nostalgic lo-fi textures of Tapia’s teen years, ‘Odisea’ is objectively Los Retros’ most articulate and refined musical endeavour to date. It is a brilliant, smooth-sailing homage to the forefathers of jazz fusion that proves Tapia is a generational songwriting talent, not just a viral bedroom-pop fluke.
Los Retros-Odisea.
EL MICHELS AFFAIR – 24 HR SPORTS: (INSTRUMENTAL VERSION).
El Michels Affair – 24 Hr Sports: (Instrumental Version).
Label: Big Crown Records.
Format: Vinyl.
When Leon Michels drops an instrumental version of an El Michels Affair record, it isn’t just a bonus disc for the crate-diggers – it’s an entirely new lens on his architectural mastery.
In 2025, El Michels Affair released the vocal edition of 24 Hr Sports. It featured massive names like Norah Jones and Clairo. However, recently, El Michels Affair released 24 Hr Sports: (Instrumental Version) on Big Crown Records. It strips away the lyrical narratives to expose the raw, analogue muscle beneath. What remains is a breathtaking masterclass in cinematic, vintage-textured library soul.
The original album drew quirky, vibrant inspiration from the aesthetic of 1980s and 90s Sports Illustrated magazines. This includes the bold typography, the fashion, the colourful optimism. In the vocal-free version, this translates into a brilliant, retro-futuristic broadcast tape.
Michels infuses the record with the spirit of MF Doom’s legendary Special Herbs instrumental series. It feels less like a traditional album and more like an immensely cool, fictional late-night AM radio sports program.
Without the star-studded vocalists taking centre stage, the immaculate chemistry of Michels’ studio band includes staples like Homer Steinweiss, Nick Movshon, and Dave Guy. They take total control on this sixteen track musical masterpiece.
Here’s the track-by-track breakdown of how this record functions when the rhythm section, tape saturation and arrangements take total centre stage.
Side A: The Starting Lineup,
Opening the album is ‘Drumline.’ It’s an anthemic, high-energy thesis statement. Without vocal distractions, you can truly appreciate the crisp, marching-band precision of the percussion and the thundering, layered brass arrangements. It feels like the opening credits to an incredibly cool, forgotten 1980s sports broadcast.
The original version of ‘Mágica’ featured the celebratory, fútbol-inspired vocals of Brazil’s Rogê. Stripped bare, the track transforms into a low-slung, hypnotic bossa-hip-hop groove. The focus shifts entirely to the incredible warmth of the bassline and the brilliant use of space between the acoustic guitar plucks and the crisp snare clicks.
’24 Hr Sports Theme No. 1’ is a quick, 26-second micro-dose of vintage television aesthetic. It’s pure FM-synth and horn-blast gold, serving as a perfect transition piece that leans heavily into the record’s overarching Sports Illustrated concept.
‘Say Goodbye’ was originally fronted by Ghanaian vocalist Florence Adooni’s distinct flair. However, the instrumental relies on its cyclical, rolling Afro-soul rhythm. The woodwinds and rhythmic guitar strums hold down the fort, morphing the track into a deep, meditative groove that floats effortlessly.
‘Oakley’s Car Wash’ is, without doubt, one of the highlights of the album. It’s built on a sun-drenched, seventies AM-radio groove. The instrumental spotlights the spectacular, soaring trumpet lines of Dave Guy of The Roots. The real magic happens in the final third, where Michels dissolves the arrangement into a dubby, echo-drenched outro that sounds incredible on headphones.
‘Anticipate’ originally showcased the indie-pop magic between Michels and Clairo. The original is reminiscent of her album Charm. As an instrumental, the aching, nostalgic vulnerability remains completely intact. The lush, airtight keyboard chords and sweeping woodwinds carry the emotional weight beautifully all on their own.
Quite simply, ’Eastside’ is a masterclass in restraint. This track feels like a slow sunrise over the ocean. Michels places his immaculate sense of arrangement on a pedestal here, letting a gentle melody breathe against a steady, effortlessly cool rhythm section.
The vocal version of ‘Clean The Line’ featured the ethereal layers of Japan’s Suginami Children’s Choir. Without them, the celestial, dream-like quality is sustained by the plush, drifting key arrangements and crisp percussion, closing out Side A on a beautifully serene note.
Side B: The Second Half.
‘Cortex’ is akin to a sudden kick to the chest. This brief, sub-two-minute track trading on pure cinematic intensity features gritty, distorted rock guitars and thundering drums. It sounds like the soundtrack to a high-stakes car chase in a gritty 70s neo-noir.
On the original version of ‘Shining,’ Michels handled the lead vocals himself. The instrumental allows the listener to bask completely in the sun-soaked, breezy soul foundation of the track. It’s warm, inviting, and driven by a bouncy rhythm that makes it impossible not to nod your head.
’24 Hr Sports Theme No. 2’ is the second brief interlude of the record. Like its predecessor, it locks down the retro-fictional radio broadcast aesthetic, bridging the gap into the album’s final stretch.
Shintaro Sakamoto featured on the original version of ‘Indifference.’ The instrumental highlights the swanky, playful groove beneath his original spoken-word musings. Here, the focus shifts entirely to the bouncing, elastic bassline and tight, snappy flute chops.
‘Carry Me Away was originally a vehicle for Norah Jones’ smoky vocals, the instrumental layout reveals a remarkably intricate jazz-soul framework. The delicate piano chords and plush background textures create a dreamy, floating atmosphere that is deeply immersive.
It’s no exaggeration to sat that ‘My Hand’ is towering centrepiece. While the original relied heavily on the Fabulous Rainbow Singers choir, the instrumental leans directly into its heavy gospel and blues lineage. The true star here is the brilliant, archival saxophone solo from the late jazz legend Rahsaan Roland Kirk, which reverberates magnificently over the contemporary rhythm section.
‘Open Season’ is a mid-tempo, piano-driven groove. On the vocal cut, a group chant anchors the track, but here, the focus is entirely on the driving rhythm. It has a triumphant, slow-motion swagger to it — the perfect audio accompaniment to an old-school sports highlight reel
‘Victory Lap’ is the perfect title for the closer. A dreamy, euphoric, and beautifully hazy wind-down that allows the band to slowly ease off the gas. It acts as a gorgeous sonic cooldown for an incredibly cohesive, rhythmic journey.
24 Hr Sports: (Instrumental Version) is perfect for late-night driving, vinyl spinning, and anyone who appreciates the pure tactile grain of analogue studio production. Very few albums of this quality are released each year.
While the original album was a brilliant showcase of Michels’ ability to produce world-class vocalists, 24 Hr Sports: (Instrumental Version) proves that the music never needed them to begin with. It’s leaner, punchier, and forces you to appreciate the immaculate groove geometry that makes El Michels Affair one of the definitive soul outfits of our time.
Stripping away a star-studded lineup of guest vocalists to let the underlying architecture breathe is a bold move, but for Leon Michels, it’s an invitation to a masterclass. 24 Hr Sports: (Instrumental Version) takes the brilliant cross-genre experiments of the vocal edition and distills them into a continuous, cinematic library-soul experience.
By letting the groove geometry and tape grain do all the heavy lifting, 24 Hr Sports: (Instrumental Version) functions beautifully as a standalone piece of art. It’s less of a companion piece and more of an essential listen for anyone obsessed with modern soul production.
El Michels Affair – 24 Hr Sports: (Instrumental Version).
MARC MAC PRESENTS VISIONEERS – DIRTY OLD HIP HOP.
MARC MAC PRESENTS VISIONEERS – DIRTY OLD HIP HOP.
Marc Mac Presents Visioneers – Dirty Old Hip Hop.
Label: Omniverse.
Format: 2 x LP.
In 2006, Marc Mac, one of the founders of the celebrated and pioneering drum n bass and broken beat duo 4hero, released ‘Dirty Old Hip Hop’ the debut album by his new studio project Visioneers. The album was originally released on BBE, and was billed as Marc Mac Presents Visioneers. ‘Dirty Old Hip Hop’ was, and remains, an absolute masterclass in the intersection of jazz, hip hop and broken beat.
Twenty years later, and Omniverse have reissued ‘Dirty Old Hip Hop.’ The 20th Anniversary Limited Edition has been pressed on transparent 180g red 12″ vinyl, with an Obi strip. It’s the perfect way to celebrate an album that’s in the history of British hip hop is a timeless classic.
Instead of just chopping up old jazz and soul records to make hip hop beats, Mac takes iconic hip-hop beats and recreates them live with a full studio jazz band.
Backed by incredible live instrumentation – featuring the crisp, organic drumming of Luke Parkhouse and bass work from Somatik, Mac essentially reverses the sample chain. He meticulously pays homage to legendary producers including J Dilla, Pete Rock, and DJ Jazzy Jeff.
As albums go, ‘Dirty Old Hip Hop’ is absolutely flawless and truly timeless. Here’s why:
‘Dirty Old Hip Hop’ opens with ‘Replay.’ It’s the perfect opening statement. LA rapper Voice drops crisp, nostalgic bars over an ultra-warm, jazzy backdrop. The lyric: “I never thought when it was played way back, that it would ever get remade in fact” perfectly encapsulates the thesis of the entire album. It’s soulful, welcoming, and sets the definitive mood.
‘Runnin’ is the crown jewel of the album. Recreating J Dilla’s iconic production for The Pharcyde using live instruments is a bold move. However, Visioneers nail it. The double bass drives the track with a fluid, bouncing energy, while acoustic guitar plucks and soaring live strings replicate the Stan Getz samples. The instantly recognisable ‘Runnin'” vocal chant floats over the top, making it a brilliant piece of live band audio translation.
‘Ike’s Mood I’ features vocalist Carina Andersson. It’s a A brilliant, heavy reinterpretation of the Isaac Hayes classic. Andersson’s lush, ethereal vocal harmonies float over an incredibly deep sub-bass groove. The track has a slow, seductive burn to it, trading the cinematic strings of the original Hayes version for a stripped-back, rhythm-first jazz quartet vibe.
‘The World Is Yours’ is a masterful cover of the Pete Rock-produced Nas classic. Visioneers reverse-engineer the track by heavily featuring live, bright vibraphone and xylophone solos. They pay homage to Ahmad Jamal’s ‘I Love Music,’ which Pete Rock originally sampled. Accompanied by backing chords from the Doris Hill Male Voice Choir, this instrumental is, quite simply, absolute jazz-hop perfection.
‘Funk Box’ features Capital A. This is where the album bridges the gap between classic boom bap and the West London broken beat scene. Capital A delivers a sharp, rhythmic vocal performance over a driving bassline and incredibly snappy snare hits. The instrumentation is incredibly tight, focusing heavily on a rhythmic pocket that forces your head to nod.
‘It’s Simple’ is a laid-back instrumental built around a beautiful interplay between live double bass, jazz piano chords, and clean, rolling boom bap drums. It showcases Mac’s brilliance as an arranger, and he gives the music plenty of breathing space without ever letting the groove drop.
‘Kamal’s World’ is a brief, but heartwarming interlude featuring the voice of Baby Kamal. It acts as a quick palette cleanser but also manages to maintain the family and community vibes woven throughout ‘Dirty Old Hip Hop.’
On ‘Dirty Old Bossa Nova,’ Mac flips Howard Roberts’ jazz-guitar track. It was famously sampled by A Tribe Called Quest on ‘Jam.’ This track leans heavily into a syncopated, uptempo Brazilian rhythm. The percussion expands beyond a standard drum kit into shakers and agogô bells, blending classic jazz-bossa with a rugged hip hop bassline.
‘Smoker’ sounds like it steps deep into a smokey, late-night jazz club atmosphere. It features a heavy doses of live Moog synthesiser, walking basslines, and intricate drumming. Once again, it highlights the high standard of musicianship of Mac’s studio collaborators, Parkhouse and Somatik.
‘Run for Cover’ is a fast-paced, breakbeat-heavy track that nods directly to Marc Mac’s roots in the UK dance and broken-beat scenes. The drums are relentless and crisp, colliding beautifully with sharp jazzy horn stabs and driving bass hooks.
’55 Dollars’ is a smooth, mid-tempo instrumental driven by a gorgeous, rhythmic piano loop. The track builds slowly, adding layers of subtle percussion and live bass. It feels like a lost underground beat tape track from 1994, brought to life by a live band who seamlessly lock into a groove for four magical minutes.
On ‘Paul’s Guitar Story’ the spotlight is on crisp, jazzy guitar work. It pairs beautifully with a soulful double-bass line and soft, snapping drums. It is incredibly mellow and acts as a brilliant exhibition of subtle, expressive instrumentation. Quite simply, this is one of the highlights of the album.
The best way to describe ‘Rollin’ For The Ride’ is a breezy, sun-drenched track that perfectly suits an early evening summer drive. The groove relies on a rolling, effortless rhythm section and bright melodic accents that keep the energy light, optimistic, and deeply soulful.
Deeply nostalgic, wistful and melancholy describes ‘Days Gone By. It features lush, dreamlike and ethereal keys and an incredibly tight drum break. It acts as a sonic bridge looking back at the history of the genre. Its raison d’être is to maintain a beautiful balance between old school grit and polished musicianship. This it does effortlessly.
Closing ‘Dirty Old Hip Hop’ on a high is The album closes out on a high note with ‘Hip Know Cypher.’ It’s an all-out jazz-funk jam session. The drums are loose and live, the bass-line wraps around your chest, and the musicians exchange brilliant, tasteful solos without ever overindulging. It wraps up the album by emphasising the core message: hip-hop and jazz are part of the exact same lineage.
On ‘Dirty Old Hip Hop,’ Marc Mac reimagined hip hop breaks and beats and placed them into grooves that paid homage to the track from which those beats were originally sampled. In 2006, this was groundbreaking and innovative. It was a postmodern approach to making hip hop and resulted in what I earlier referred to as a timeless British hip hop classic. I would go further and say it’s a timeless genre classic. It’s more than hip hop though. This is hip hop combined with broken beat and jazz.
This wasn’t sleepy “dinner jazz.” No way. The interplay between the double bass lines and the punchy drum breaks keeps the raw energy of boom bap hip hop alive. However, there’s more to ‘Dirty Old Hip Hop’ than this.
Mac’s love of jazz and how it has influenced him shines through. This includes fusion. Sometimes, though, fusion albums can sometimes get lost in self-indulgent solos. Not here. Instead, Mac keeps the compositions tight, focused, and structured around the neck-snapping loops hip hop heads adore and appreciate. They play their part in the success of ‘Dirty Old Hip Hop.’
Twenty years after its release, ‘Dirty Old Hip Hop’ still has the ability to bridge generations. It’s an album that can easily function as a laidback, late-night wind-down soundtrack or can get a dance-floor moving at a nu-jazz or broken beat night. ‘Dirty Old Hip Hop’ also transcends eras as it relies upon authentic, elite musicianship and timeless source material rather than the digital production trends of 2006. That’s why ‘Dirty Old Hip Hop’ sounds just as fresh today as it did twenty years ago.
Unlike other hip hop artists, Visioneers didn’t doesn’t just copy the past. Far from it. They were and still are pioneers, and took the past, reimagined it, and breathed new, vibrant and acoustic life into it. The result was ‘Dirty Old Hip Hop,’ their critically acclaimed debut album which is truly is a timeless classic.
For anyone with even a passing interest in hip hop, ‘Dirty Old Hip Hop’ is an essential addition to your collection. Especially if you’re a fan of J Dilla, Madlib and Tribe Called Quest. Quite simply, ‘Dirty Old Hip Hop’ is a musical masterclass from Marc Mac and friends, and was the first chapter in the Visioneers’ story.
Visioneers went on to release two further studio albums, 2012s ‘Hipology’ on BBE and 2024s ‘Def Radio’ on Omniverse. Both albums were released to plaudits and praise, and like ‘Dirty Old Hip Hop,’ showcase a truly talented musical pioneer at the peak of his powers. This triumvirate of albums by Visioneers deserves a place in the collection of anyone who has an interest or love of hip hop, broken beat or jazz.
Marc Mac Presents Visioneers – Dirty Old Hip Hop.
DOCTOR BIONIC – ELECTRIC POLLEN.
Doctor Bionic – Electric Pollen.
Label: Chiefdom Records.
Format: Vinyl
‘Electric Pollen’ is the fourth transmission from Doctor Bionic’s Terrestrial Radio series. The album is an organic, genre-melting masterclass in mood and groove from Doctor Bionic that’s a mixture of hip hop, neo-soul, jazz-funk and soul-jazz.
On ‘Electric Pollen’, Doctor Bionic delivers what’s best described as an incredibly mature, sophisticated addition to his growing back-catalogue. ‘Electric Pollen’ has also been been much-anticipated.
This is the fourth chapter in his critically acclaimed Terrestrial Radio series. However, the sixteen-track project doesn’t just try to replicate the successes of its predecessors. For from it. Instead it sets out to refine and in places redefine them.
Released via independent label Chiefdom Records, the album acts as a bridge between foundational analogue rhythms and the uncharted edges of contemporary urban beats. The best way to describe ‘Electric Pollen’ is a rich, textured sonic palette.
It’s time to look under the bonnet of ‘Electric Pollen.’ What immediately stands out about the album is its deep sense of organic improvisation. This isn’t a collection of rigid, programmed loops, and instead is a living, breathing auditory ecosystem.
Doctor Bionic effortlessly navigates through dense layers of jazz-inflected harmonies and electronic textures with a deftness that places him comfortably alongside some of the pioneers of modern music. He’s an innovator who pushes boundaries to their limits on ‘Electric Pollen.’
The music is gritty, and features a dusty, deeply textured sampling style reminiscent of Madlib. That’s not all.
Listen carefully and the infectious, organic pocket grooves evokes Haitian-Canadian music producer, and DJ Kaytranada. This is best described as the bounce.
Then there’s the edgy sound to ‘Electric Pollen.’ It embraces the cosmic, progressive lyrics and syntax of artists like Flying Lotus and the smooth, synthetic funk sensibilities of American singer and producer Dâm-Funk.
‘Electric Pollen’ brilliant balances instrumental exploration with evocative vocal deliveries. This duality gives the record an expansive, chameleonic feel, satisfying die-hard instrumental hip-hop heads while offering entry points for casual fans of progressive R&B.
One thing that’s immediately noticeable on ‘Electric Pollen’ is how the album thrives on residual warmth. This is the kind of music that feels less like it was made on a laptop and more like it was coaxed out of vintage hardware during a late-night studio jam. That’s the case across the sixteen tracks on ‘Electric Pollen.’
Side A: Plants The Sonic Seeds.
‘Intro’ is an eleven second audio transmission that serves as the official handshake of the record. Complete with a subtle dial-turning texture and vinyl crackle, it establishes the analogue, late-night radio aesthetic before dropping you directly into the music.
Then ‘Eyes of Chavez’ fires ‘Electric Pollen’s’ starting gun. From the get-go it leans heavily into an urban neo-noir atmosphere. Th track is driven by a deep, pulsating bass line that’s accompanied by intricate, head-nodding percussion. It acts as a statement of intent, showcasing Doctor Bionic’s ability to create cinematic tension using live instrumentation and gritty, textured beats.
‘Moment of Clarity’ is a gorgeous, jazz-infused track that’s one of the album’s standout tracks. Lush electric piano chords float over a smooth, perfectly locked boom-bap pocket. True to its name, the arrangement feels open and contemplative, giving the warm melodic elements plenty of room to breathe. With its thoughtful and melancholy sound, it’s the sonic equivalent of watching rain fall outside the studio window during a break in recording.
‘Chopping Block’ is best described as lean, punchy, and raw. This track highlights Doctor Bionic’s hip-hop roots with a display of razor-sharp sample slicing. The drums hit significantly harder here, bringing a dusty, nineties underground grit to the forefront that balances out the smoother R&B textures heard earlier.
It’s all change on ‘See The Future.’ It’s a cosmic detour that showcases the progressive side of Doctor Bionic on the record. Syncopated electronic rhythms are layered with shimmering synth accents, offering a direct nod to the forward-thinking Los Angeles beat scene. It’s brief but incredibly effective at shifting the album’s spatial dynamic.
There’s another change of direction on ‘Cactus Snake – Part 2.’ It’s a sequel piece that delivers a heavy dose of psychedelic jazz-funk. Built around an elastic, winding bass guitar melody and hypnotic, echoing percussion, the track slithers forward with an effortless cool. The live feel here is palpable, mimicking a late-night studio jam session. It’s another highlight of ‘Electric Pollen.’
‘Fools Errand’ is a rapid-fire vignette that lasts just over a minute. This track acts as a dense burst of kinetic energy, utilising off-kilter rhythm arrangements and abrupt melodic shifts to build a quick wave of tension before passing the baton.
‘In The Water’ closes side A on an immersive, fluid note. Shimmering, glistening keys and a rolling, wave-like rhythm section give the track a weightless, underwater quality. It serves as a beautiful emotional peak for the album’s first half, leaving a lingering sense of calm as the needle hits the run-out groove.
Side B: The Full Bloom.
‘Interlude’ is a quick palate cleanser that resets the radio frequency for the second half. It uses abstract sound collages to transition the listener into a deeper, slightly more introspective sonic landscape.
‘Over The Mountain’ has an elevated, panoramic energy. The production here feels wide and majestic, layering soulful horn-like pads and organic grooves that evoke the feeling of looking out over an open landscape. It provides an immediate injection of momentum, and as if Doctor Bionic is about to go through the gears on side B.
Quite simply ‘Tried and True’ is classic, unadulterated instrumental hip-hop. It centres on a soulful, loops-within-loops melodic foundation. Although this feels deeply familiar, but feels freshly re-contextualised, and finds Doctor Bionic pushing musical boundaries. It also provides a reliable, rock-solid groove that anchors the back half of the track-list.
Without doubt, ‘Be Your Own Man’ is one of the most emotionally resonant offerings on ‘Electric Pollen.’ It combines and merges a slow-burning jazz-funk bassline with evocative vocal layerings and subtle spoken-word elements, the track carries a distinct philosophical weight. It also serves as a brilliant example of how Doctor Bionic transcends the standard “beat tape” format to create genuine songs.
There’s a swift pivot back to high-energy funk on ‘Never Enough.’ The rhythm section here is tight and incredibly syncopated, featuring snappy snare hits and a highly active bassline that forces your head to move. It provides a truly memorable burst of danceable groove late in the record.
’10,000 Immortals’ is mystical and highly atmospheric. This piece slows the tempo back down and experiments with eastern-tinged modal elements and hypnotic polyrhythms. It stands out as one of the most experimental tracks on the record, highlighting the producer’s willingness to draw inspiration from various cultures and seamlessly combine disparate genres.
‘Gold Coin’ is a luxury rap production missing only the MC. Featuring rich string samples and glossy Rhodes keys riding over a crisp, hard-hitting drum pocket, the track feels effortlessly cool, polished, and expensive.
The title-track, ‘Electric Pollen’ is the titular finale, and the perfect thematic sign-off. The track meticulously pulls together every element explored over the previous fifteen tracks. There’s dusty hip-hop drums, warm neo-soul chords, and the spacey electronic textures that combine into a singular, slow-fading conclusion. It leaves the listener in a deeply meditative state as the album draws to a close. This is perfect way to close Doctor Pollen’s much-anticipated fourth album.
Spanning sixteen tracks, ‘Electric Pollen’ functions best when consumed as a continuous, front-to-back listen. It behaves like a late-night radio broadcast, shifting seamlessly between introspective lulls and dynamic spikes.
Electric Pollen consolidates Doctor Bionic’s reputation as an essential voice in the independent underground scene. It’s a gorgeous, immersive blend of electronic textures, deep funk undertones, and soulful storytelling. For crate-diggers, vinyl collectors, or anyone tired of cookie-cutter beat tapes, this groundbreaking and genre-melting album is, without doubt, an essential addition to your rotation.
Doctor Bionic – Electric Pollen.
THE BEST OF BLACK JAZZ RECORDS: 1971-76.
The Best Of Soul Jazz Records: 1971-76.
Label: Soul Jazz Records.
Format CD.
During the late-sixties and early seventies, many small independent jazz labels were founded in towns and cities across America. Sadly, many were short-lived affairs with some releasing just one album and others closing their doors having released just a couple of albums. However, Black Jazz Records released twenty albums between 1971 and 1975.
The story began in Oakland, California, in 1969, when pianist Gene Russell and percussionist Dick Schory founded Black Jazz Records. Its raison d’être was “to promote the talents of young African American jazz musicians and singers.” This was only part of the cofounders vision for their new label.
They were determined that Black Jazz Records would released an alternative to what they saw as the old school and traditional jazz that was popular at the time. Their new label would release albums that featured music that was influenced by politics and was also spiritual. However, spiritual jazz was just part of the Black Jazz Records’ story.
The nascent label would release everything from free jazz and funk to soul-jazz over the next four years. Black Jazz Records released six albums during 1971 and plans were in place that jazz fans across America could buy the albums.
Cofounder Schory had founded Chicago-based Ovation Records, which was a successful country and western label which was providing funding for Black Jazz Records and was distributing its releases. This gave the label a helping hand and meant it had an edge on its competitors.
Record shops across America could stock Black Jazz Records’ releases. This included its first release which was Russell’s sophomore album ‘New Direction.’ This was the first of two albums he released on the label he cofounded.
Russell also ran the label, produced and engineered the label’s releases, was in charge of A&R. He was regarded by many as the Black Jazz Records’ creative force, as the label released twenty albums over a four year period. The music was innovative, groundbreaking and pushed musical boundaries to their limits and sometimes, beyond. It was very different to what many other jazz labels were releasing. That’s why fifty-one years after Black Jazz Records closed its doors there’s still a lot of interest the in labels the label released between 1971 and 1975.
Over the years, a number of labels have released compilations or reissued the albums Black Jazz Records released. The latest to do so is Soul Jazz Records who recently released the unimaginatively titled ‘The Best Of Soul Jazz Records: 1971-76.’ It features thirteen tracks from The Awakening, Doug Carn, Calvin Keys, Roland Haynes, Walter Bishop Jnr, Henry Franklin, Kellee Patterson, Chester Thompson and Rudolph Johnston. One glaring omission is cofounder Russell. How can a Black Jazz Records compilation not include one of his tracks? This seems strange and is extremely disappointing. However, what of the rest of the compilation?
It opens with The Awakening’s ‘Mode For D.D.,’ one of three tracks from their 1973 sophomore album ‘Mirage.’ Here, the group combine jazz-funk and fusion with spiritual jazz. ‘Slinky’ finds this tight, talented Chicago-based band fuse jazz-funk, funk and fusion to create one of the highlights of ‘Mirage.’ The other track from the album included is ‘March On.’ Funk, fusion and spiritual jazz are combined on a track that veers between cinematic and dramatic. The Awakening stretch their legs unleashing blistering, scorching horns and jam showcasing their considerable talents and later, increase the funk factor. Sadly, ‘Mirage’ was the group’s swan-song. Anyone with even a passing interest in seventies jazz needs one of The Awakening’s albums in their collection. I would recommend Real Gone Music’s reissue of their debut album ‘Hear, Sense and Feel.’
The only track from Doug Carn, who was Black Jazz Records’ most successful artist is ‘Higher Ground.’ It’s taken from his 1975 album ‘Adam’s Apple.’ This was the first album not to feature his wife and vocalist Jean. However, he was backed by a crack band of session musicians who helped Carn create innovative and futuristic album full of energy. It also has a freer sound as the band fuse disparate genres to create something new – a truly groundbreaking and genre-melting track. For anyone wanting an introduction to Carn’s music, ‘Spirit Of The New Land.’ which features Jean Carn, is a good place to start. It was also reissued by Real Gone Music.
Jazz guitarist Calvin Keys released two albums on Black Jazz Records. The second was 1974s ‘Proceed With Caution!’ It featured ‘Aunt Lovey.’ It’s a mixture of jazz-funk, fusion and soul-jazz. It features a masterclass from Keys on guitar. He plays with speed, precision, fluidity and an inventiveness. In doing so, he drives his band to greater heights on what’s one of the highlights of ‘Proceed With Caution!’ However, to hear Keys at his best, his 1971 debut album ‘Shawn-Neeq’ is the one to buy. It was reissued by Real Gone Music in 2021.
Roland Haynes only released one album on Black Jazz Records, ‘2nd Wave.’ It was released in 1975 the year the label closed its doors. The album opened with ‘Eglise.’ Haynes and his band play with urgency combining jazz-funk and fusion. They also seem to have drawn inspiration from Blaxploitation soundtracks and Herbie Hancock’s ‘Head Hunters’ during this spellbinding jam. This is another album that’s worth seeking out. Again, it was reissued by Real Gone Music.
Walter Bishop Jr’s only release on Black Jazz Records was the cult classic ‘Coral Keys.’ The album featured seven of Bishop’s compositions. Some he recorded with a quartet, others with a quintet who flit between modal jazz, hard bop and post bop. Two tracks from the album feature on the compilation. They’re ‘Coral Keys’ and ‘Soul Village.’ These tracks feature on what’s arguably Bishop’s finest album. It was reissued in 2020 by Real Gone Music and is a reminder of the truly talented New York-born pianist.
There’s two tracks from Rudolph Johnson on the compilation. ‘Dishwa’ featured on his 1971 debut album ‘Spring Rain.’ It’s different from other tracks on the album. It’s funky but has been influenced by sixties soul-jazz. Drummer Ray Pounds steals the show pounding his drums during what’s a musical masterclass. The other track from Johnson is ‘The Highest Pleasure’ from his 1973 album ‘The Second Coming.’ Johnson’s tenor saxophone is front and centre as he moves through the gears showcasing his talent and backed by a crack band of session players. This included pianist John Barnes who also plays a starring role on the track. Alas, ‘The Second Coming’ was Johnson’s swan-song for Black Jazz Records. Of the two album he released I much prefer ‘Spring Rain.’ It’s now regarded as a cult classic and was released by Real Gone Music in 2021. It’s an album that’s well worth discovering.
Double bassist Henry Franklin released two critically acclaimed albums on Black Jazz Records. This includes his 1972 debut ‘The Skipper.’ However, it’s ‘Blue Lights’ from his 1974 sophomore album, ‘The Skipper At Home’ that’s included. Franklin and his band combine jazz-funk, fusion and funk. Add to the mix Kemang Sunduz’s scorching, blazing and soaring saxophone and this was one the best tracks on the album. Having said that, of the two albums, ‘The Skipper’ is the best and is a worthy addition to any collection. And guess what? It was also reissued by Real Gone Music in 2021.
Kellee Patterson released her debut album ‘Maiden Voyage’ in 1973. It was produced by Gene Russell and featured eight cover versions. These were songs full social of comment, beautiful ballads and mid-tempo tracks on what was a carefully crafted album that veers between jazz, soul and soul-jazz. It’s an album with no weak tracks and where Kellee Patterson showcases her vocal versatility. She breathes life, meaning and emotion into the eight tracks including ‘Maiden Voyage’ which was the only album she released on Black Jazz Records. It’s the most commercial album the label released and must have for anyone with even a passing interest in Black Jazz Records. This album was reissued by Real Gone Music in 2020. It’s the version to buy.
The other track on the compilation is ‘Powerhouse’ the title-track from Chester Thompson’s 1971 album. Although the album was well received, it wasn’t a commercial success. However, later, it was discovered by a new generation of jazz fans. One of the highlights of the album is the title-track, a mid-tempo track with the sultriest of grooves. The best way to discover this hidden gem of an album is via Real Gone Music’s 2021 reissue.
If you’ve never heard of Black Jazz Records, then ‘The Best Of Soul Jazz Records: 1971-76’ of is a good place to start. It’s what I would describe as an entry level compilation. Don’t expect a lengthy essay on the history of Black Jazz Records and its artists. Instead, there’s only a few hundred words about what was one of jazz’s pioneering labels. The lack of liner notes is unsatisfactory. So is the track listing which doesn’t even detail what album each track is taken from.
This is all rather disappointing and might sound pedantic. However, in the increasingly crowded compilation market there’s lots of independent labels, and their releases are streets ahead of ‘The Best Of Soul Jazz Records: 1971-76’.’ To me, it’s a no frills entry level compilation. The lack of extensive liner notes and accurate track listings are two reasons. Neither the year of release, nor the album the track is taken from are included. Having said that, the music is of the highest quality.
However, if anyone wants to discover more about the music Black Jazz Records between 1971 and 1975, then seek out Real Gone Music’s reissues. They’re of the highest quality, and feature and showcase the cutting-edge and innovative music the label released.
Black Jazz Records only released twenty albums during a four year period. While the music may not have been hugely commercial, it was brave, bold and ahead of its time. Like many small labels, Black Jazz Records was ahead of musical trends and tastes. It would only be later that people would realise the importance of Black Jazz Records.
Indeed, since Black Jazz Records closed its doors, several generations of music lovers have delved into the label’s back-catalogue. While Black Jazz Records wasn’t a prolific label they were more concerned with quality. Proof of that are the thirteen tracks on ‘The Best Of Soul Jazz Records: 1971-76.’ They’re groundbreaking, timeless and ooze quality.
The Best Of Soul Jazz Records: 1971-76.
JNBO – & FRIENDS.
JNBO – & Friends.
Label: College Of Knowledge Records.
Format: Vinyl.
Currently, Australia has a thriving and vibrant music scene. That has been the case for many years. All across the country there’s truly talented singers, songwriters, musicians and producers. This includes Melbourne and Naarm-based bassist, composer, engineer and producer, Henry Jenkins.
For those unfamiliar with Jenkins’ work and music, he’s the producer and engineer behind Surprise Chef, Karate Boogaloo and the critically acclaimed and Grammy-winning Frollen Music Library. That’s not all.
Jenkins is also College Of Knowledge Records’ in-house recording and mix engineer. He’s also one of the leading lights of Melbourne Naarm’s instrumental cinematic soul movement. The multitalented Jenkins is regarded as having honed and masterminded this groundbreaking and genre-melting musical movement.
One of Jenkins’ aliases is JNBO, which is his solo project. His debut album is ‘& Friends,’ which was released on vinyl on College Of Knowledge Records. This twelve track opus is a cinematic musical odyssey through a variety of disparate genres and has been influenced by a variety of music and artists.
The twelve tracks on the album were composed by Jenkins. He also recorded and produced the album. This wasn’t an ordinary album. Jenkins had a vision for the album. There was a concept, and he wanted to record it with some of his friends from the Melbourne music scene.
Jenkins explains: “I wanted to write a record I would look forward to recording with my friends. The music I was writing had a funk sensibility in the bass and drums, contrasted by a more cinematic approach in the harmonic and melodic content, with guitars slipping and sliding in between. I tried to make that contrast the character of the record. I felt that every song should have the same instrumentation and with the same personnel. This became an enjoyable creative constraint; how much variation could I pull out of the same 8 instruments over the course of the album? I wanted to find as much diversity as I could within these tight bounds.”
Having come up with the concept, Jenkins put together his band. Not only were they his friends, they’re all truly talented musicians and familiar faces in Melbourne’s thriving and vibrant music scene. This included members of Karate Boogaloo and Surprise Chef.
Joining bassist Jenkins in the rhythm section was drummer Hudson Whitlock. They were joined by triumvirate of guitarists, David Thor, Lachlan Stuckey and Lewis Coleman. The other members of the band were pianist Lena Douglas, Callum Riley on Hammond organ and Jethro Curtin on string synths. He was responsible for the unmistakable sound of the Solina String Ensemble.
The arrangements are best described as unconventional, while the instrumentation is different from the majority of albums released nowadays. Jenkins wanted arrangements that featured three guitars and three keyboards. The final piece of the musical jigsaw was Jenkins bass.
Then Jenkins set about were strategically placing the instruments across the twelve arrangements. As any producer knows, placing the instruments in the correct place is akin to doing a puzzle. However, Jenkins, an experienced producer had a vision, which became reality.
‘& Friends’ was mastered by Max Dowling. Myka Wallace designed the distinctive album cover. Now the album was ready for release.
This genre-sprawling album was released in April 2026. ‘& Friends’ is a captivating musical odyssey with surprises aplenty in-store. It’s a case of sit back and enjoy the journey.
The album opener ‘All’ is dark, dramatic and cinematic from the get-go. JNBO combine cinematic soul and funk with slinky jazzy piano and smokey beats. It sounds like part of the soundtrack to a big budget movie full of car chases, stakeouts and deals going down. If the listener closes their eyes they become the director and will be able to visualise all manner of dramatic scenes that this stunning genre-melting track can provide the soundtrack to.
‘Dogs’ sees JNBO combine jazz and funk on what another filmic track. Jazz, funk and library music are the influences on a track that paints pictures.
‘Ten Cent Piece’ sees a drop in tempo and elements of chill out, ambient and hip hop combine. Space has been left in this wistful and majestically melodic arrangement. It’s one of the highlights of ‘& Friends.’
Drums drive ‘Around’ along before the bass, guitars and piano join in. Funk meets cinematic soul before Riley’s Hammond organ takes the track in the direction of soul-jazz. It’s smoking and smouldering track with a band at the top of their game.
‘Missing’ sounds moody, broody and cinematic. It meanders along taking the listener on a journey. They could easily be listening to a track from the soundtrack to an early seventies movie or long-forgotten TV show with good guys, bad guys, double-dealing, double-crossing, subterfuge and drama aplenty. It’s a track that’s akin to a journey back in time for those of us of a certain age.
‘Letting Down’ is a slow, spacious and pensive sounding tracK. It’s also beautiful and encourages reflection as the guitars seem to weep.
The drums are in the pocket on ‘Letting Go’ as guitars add a sense of melancholy before string sweep. They add to the sense of sadness. Drums then add to the drama on what’s a heartachingly beautiful track.
‘Name’ is a much bolder and muscular sounding track. It’s dark and dramatic and is a bit of a slow burner. When it unfolds it’s well worth the wait. Funk and cinematic soul are combined seamlessly by JNBO. This could easily be a track from a seventies or early-eighties library music album or soundtrack. It’s another example of this truly talented band showcasing their skill and ability to combine disparate musical influences.
Slow, spacious, cinematic and dramatic describes ’False Cut.’ It’s another genre-melting track. Everything from library music and cinematic soul to electronic music and funk are combined to create this carefully sculpted soundscape.
As ‘Blood Nose’ unfolds one wonders where the track is heading. There’s an element of mystery before the track gradually reveals its secrets. JNBO takes the listener on a magical musical mystery tour combining disparate musical genres and influences to create music that’s new, captivating and groundbreaking. With every listen new sounds and nuances reveal themselves.’
Melancholy describes the guitar lead ‘Close.’ The arrangement is understated an spacious allowing this short but beautiful and thought-provoking to breath.
Closing ‘& Friends’ is another filmic-sounding tracks. Drums add drama and a mesmeric, hypnotic sound as brief washes of guitar punctuate the arrangement. It’s a track that’s reminiscent of a seventies library music track.
‘& Friends’ is a flawless twelve track album where JNBO seamlessly combine cinematic soul, funk, jazz, smokey beats, soul-jazz plus ambient, chill out and electronic music. Then there’s the influence of seventies and early-eighties library music. Especially KPM and Bruton.
Listen carefully and all these genres and influences are combined by JNBO. That’s not all. Add to the mix the influence of everyone from film composers Bernard Herrmann, Roy Budd and John Barry. Then there’s the influence of David Alexrod, while JNBO have the versatility of the Wrecking Crew as they seamlessly switch between styles and genres. There’s also the influence of lounge pioneer Les Baxter and Motown’s Lamont Dozier on these carefully crafted arrangements. They’re the work of bassist Henry Jenkins the masterminded, composed and produced JNBO’s debut album ‘& Friends.’
During this twelve track opus, Jenkins and this truly talented band paint pictures during ambient and filmic-sounding tracks. Then it’s all change and it’s what’s described as “head-nodding funk.” These tracks are irresistible and so is the widescreen cinematic soul on ‘& Friends.’ Quite simply, it’s a flawless genre-melting album. It showcases Henry Jenkins ‘& Friends’ as they seamlessly combine and flit between musical genres on what’s without doubt, one of the best albums you’ll hear this year. Quite simply, ‘& Friends’ is an album to buy, and one that you’ll enjoy for many years.
JNBO – & Friends.
WEDNESDAY MORNING 6AM RADIO HITS FROM THE SMALL HOURS 1970 – 1983.
Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.
Label: Ace.
Format: CD.
‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ was recently released by Ace, and features twenty-two tracks that were heard on BBC Radio 2 and also on independent local radio. They were the type of tracks that wouldn’t be heard on BBC Radio 1. There’s a reason for that.
It’s fair to say that most of the artists on the compilation weren’t regarded fashionable. They were AOR bands, country, folk, pop or soul singers. Their music wasn’t what was played on BBC Radio 1.
That was the home of personality DJs and hype. PR companies waged a war for air time. Their clients ranged from glam rockers, purveyors of pop and rock to one hit wonders and the tres fashionable but talentless punks and post punk groups that polluted the airwaves from 1976 onwards. They were championed by a certain sneering late night DJ with superiority complex and faux Northern accent. He was one of many reasons to seek an alternative to BBC Radio 1.
For many, this was BBC Radio 2, which they listened to before heading off to work or school in the morning. Between 1970 and 1983 among the artists they would hear were Lou Rawls, Don McLean, Crystal Gayle, Air Supply, Dolly Parton, Matt Monro, Gilbert O’Sullivan, Carly Simon, Clifford T Ward, Olivia Newton-John, Dionne Warwick and Art Garfunkel. This was much preferable to the sound of the Angelic Upstarts, Sex Pistols, Cockney Rejects and China White which sounds like cockney rhyming slang, and is an accurate description of the punk movement.
Then unfortunately there was the post punk, and groups like The Three Johns, The Jesus and Mary Chain and Joy Division. Their music certainly wasn’t joyous and should’ve come with a prescription for Prozac. With “music” like this, it was no wonder that many music lovers were tuning into BBC Radio 2 and enjoying music like the twenty-two tracks on ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.’
The compilation opens with ‘Evangelina’ by country singer Hoyt Axton. This ballad was taken from his 1976 album ‘Fearless,’ which was released by A&M.
In 1977, Lou Rawls released his silky smooth ballad ‘Lady Love,’ on Philadelphia International Records. It reached number twenty-four in the US Billboard 100, twenty-one in the US R&B and five in the Adult Contemporary chart. The single was one of the finest Rawls released during his four year tenure at Philadelphia International Records.
It’s never easy having a famous brother or sister. Crystal Gayle’s sister was country music superstar Loretta Lynn. However, Gayle went on to enjoy a long and illustrious career. In 1978 she released her fifth studio album ‘When I Dream.’ It was certified platinum in 1982. The second single from the album was ‘Why Have You Left the One You Left Me For.’ It’s a country-pop soap opera from a truly talented singer who by then, was enjoying crossover pop success.
‘Lost In Love’ was released by Anglo-Australian AOR group Air Supply in 1980. It was the title-track to their breakthrough fifth album. The single reached number three on the US Billboard 100. George Russell who penned this beautiful ballad won a composer award for “song of the year” and “most played song” of 1980. It’s a song that’s stood the test the time, and is a welcome addition to the compilation.
Suzi Quatro and Chris Norman the lead singer of Smokie joined forces to record their one and only single ‘Stumblin’ In’ in 1980. It was penned by the Michael Chapman and Nicholas Chinn songwriting team. Chapman produced the single which reached number five in the US Billboard 100. This track falls into the category of guilty pleasure, and is still a favourite of many DJs and has featured on many compilations.
‘Matrimony’ featured on Gilbert O’Sullivan’s 1971 debut album ‘Himself.’ It reached number nine in the US Billboard 100 and five in the UK. ‘Nothing Rhymed’ and ‘Matrimony’ which at the time was described by a critic as “true dancehall- tradition,”were the standout tracks on the album. Incredibly, when ‘Matrimony’ was released as a single in 1972, it failed to chart. Despite that, it’s regarded as one of O’Sullivan’ finest compositions.
‘You Belong To Me’ by Carly Simon epitomises the seventies Yacht Rock sound. It’s a track from the 1978 album ‘Boys In The Trees.’ The combination of a vocal masterclass from Simon and Arif Mardin slick, polished production is a winning combination and a track that’s truly timeless.
Without a doubt, Clifford T Ward’s best known song is ‘Gaye.” It featured on his 1973 sophomore album ‘Home Thoughts. The album sold well and reached the top forty in the UK. So did ‘Mantle Pieces,’ which was released in 1975. However, by 1981 Ward wasn’t enjoying the same success. Still he wrote some outstanding songs. This included the single beautiful soul-searching ballad ‘The Best Is Yet To Come.’ It featured on his 1983 album for Phillips, ‘Both Of Us.’ Sadly, it was Ward’s last album for a major, and is a reminder of a vastly underrated troubadour who crafted many memorable songs.
In 1978, Olivia Newton-John released her eleventh album ‘Totally Hot.’ It was certified platinum in the US, and was very different from her previous albums. After starring in Grease, Newton-John was given a makeover, and her new looked mirrored Sandy, the character she played in the film. The album had a tougher pop-rock sound and featured sultry rocky lead single ‘A Little More Love.’ ‘Deeper Than The Night’ was the second single a polished slice of pop-rock that should’ve reached higher than sixty-four in the UK charts. It’s without doubt one of the highlights of ‘Totally Hot’ and the compilation.
Barry Manilow produced ‘Who What When Where Why’ for Dionne Warwick. This irresistible fusion of soul, funk and disco was written by Rupert Holmes and is one of the highlights of her 1979 album ‘Dionne.’ It reached number twelve on the US Billboard 100 and was certified platinum. Quite simply, the song is akin to a call to dance, and resistance is impossible.
Closing ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ is ‘Theme from ‘Taxi’ (Angela)’ from Bob James.’ It was released as a single in 1979, and featured on his sixth album ‘Touchdown.’ It’s easily one of the best tracks on the album which featured an all-star band. It’s like a who’s who of seventies’ jazz musicians, and is also a reminder of a television program that’s fondly remembered by many of a certain age. It was on ITV between 1978 and 1982 when there were just three television stations in the UK.
The twenty-two tracks on ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ are sure to bring back memories for people of a certain age. Whether it’s listening to BBC Radio before heading off to school or work. For others it’s listening on the car radio on the journey to work before the 9 to 5 grind, and for many, it provided the soundtrack to their day.
The tracks on the compilation will bring back memories of where they were, what they were doing, who they were with and what was happening.
Ironically, during the period the compilation covers there were two oil crises. The first was in October 1973, and the second came in 1979 as a result of the Iranian Revolution. Sadly, history has a tendency to repeat itself.
On the 28th February 2026, two intellectually challenged warmongers launched operation Epic Fury. As a result of their actions, innocent children were among the tens of thousand that have lost their lives. Others lost their homes, businesses and livelihoods. That’s of no consequence to the warmongers. Meanwhile, The Puppet Master and Draft Dodger argue about strategy, and don’t care about the havoc they’ve wreaked and chaos they’ve caused. This includes an oil crisis. It’s like the seventies all over again.
That’s when the majority of the tracks on Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.’ Listening to the compilation it’s hard to believe that some of the tracks are over fifty years old. They’re truly timeless. This includes singles and album tracks from familiar faces and lesser known names. They play their part in an eclectic and highly listenable compilation that has something for everyone.
There’s everything from AOR, country, folk, jazz and pop Philly Soul to pop-rock, soul and yacht rock. ‘Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983’ is a lovingly curated compilation, and for people of my age, a reminder of the magical music of our youth.
Wednesday Morning 6am Radio Hits From The Small Hours 1970 – 1983.
BLACK AMERICA SINGS STEVIE WONDER.
Black America Sings Stevie Wonder.
Label: Ace.
Format: CD.
‘Black America Sings Stevie Wonder’ was released on 27th March 2026, and is the eighth instalment in a compilation series that was launched back in 2010. However, the previous volume ‘Highway Of Diamonds – Black America Sings Bob Dylan’ was only released by Ace on 30th January 2026.
Usually, record labels don’t release volumes of the same compilation series so soon. This is unusual. Especially in a highly competitive compilation market.
Given the current economic climate, most people have less disposable income. Vinyl and CDs are now a luxury for even the most dedicated music fan. As a result, they’re much more discerning when buying new albums, reissues and especially compilations.
The compilation market is fiercely competitive, and nowadays, it’s possible to buy compilations of eclectic, esoteric, groundbreaking and innovative music released by record labels worldwide.
No longer do record shops and online retailers just stock releases by UK and American labels. That used to be the case. Thankfully, that’s no longer the case. There’s much more choice available. Nowadays, it’s possible to find compilations from labels in Australia, France, Germany, Japan, Norway, Peru, Spain and everywhere in-between in your local record shop and online. This is very different to record shopping in the seventies and eighties.
Nowadays, there’s compilations of every genre of music available. It’s no exaggeration to say that all musical tastes are catered for. Maybe younger music buyers will take this for granted. This wasn’t the case during the seventies.
Things were very different back then, and there weren’t as many compilations released. Far from it. Many of these compilations were cash grabs, with as many tracks crammed onto lightweight vinyl. They were a recipe for inner groove distortion, sounded awful and often would skip badly. Nowadays, these records lie unloved in charity shops, and are a far cry from the 180 grams coloured vinyl that many compilations are pressed on.
However, it’s not quality all the way in the ultra competitive compilation market. There’s still plenty of third-rate compilations that are just cash grabs by record labels. Coming to a record shop near you soon could be Best Summer Driving Anthems, The Ultimate Album For Lovers, Best Breakup Songs and Songs To Makeup To.
Then there’s the plethora of barrel-scraping cash-ins. Look out for Definitive 80s One Hit Wonders Vol. 16, Disco Floorfillers Volume 39 and Northern Soul Stompers Vol. 72. The latter will be only available from selected supermarkets, and will be bought by aging soul fans along with their Polos, Prosecco, readymade meals and raspberry vapes. For Generation Z, that’s what you’ve got look forward to. There’s serval reasons to enjoy yourself while you can, and be discerning about the music you buy and listen to.
Back to the compilation in question, ‘Black America Sings Stevie Wonder.’ This brings us to the big question, is it a quality compilation and worthy addition to this long-running series or merely a cash-in? Let’s look at the evidence. Sounds like one for Columbo. Alas, he’s hung up his raincoat, so this is a case for your cynical scribe.
There’s twenty tracks on ‘Black America Sings Stevie Wonder.’ There’s contributions by some big names on the compilation. This includes Rufus featuring Chaka Khan, Quincy Jones, The Supremes, Nancy Wilson, Four Tops, Marvin Gaye, Sister Sledge, Aretha Franklin, Randy Crawford and Lou Rawls. Then there’s tracks by The Bar-Kays, Margie Joseph and Betty Wright. They all cover and in some cases breathe new life into tracks by Stevie Wonder.
Opening the compilation is ‘Let’s Get Serious,’ the title track from Jermaine Jackson’s sixth album. Wonder and Jackson co-produced the album. It was released on Motown in 1980, and the title track was number one in the US R&B charts for six weeks. Wonder’s influence shine through on this funky and soulful dancefloor filler. He plays drums, guitar, piano, synths and adds backing vocals. Then there’s the lush dancing strings that sweep in and out as Jackson delivers a heartfelt and hopeful vocal on what was one of the highlights of the album.
‘Tell Me Something Good’ was covered by Rufus featuring Chaka Khan and featured on their album ‘Rags To Rufus.’ It was produced by Bob Monaco and Rufus and was release by ABC in 1974. The arrangement is tough and funky and is the perfect backdrop for Khan’s deliberate and energetic vocal powerhouse which often, veers towards sensuous. It’s no surprise that when it was released as a single it reached number three on the US R&B charts.
One of Quincy Jones best albums was ‘You’ve Got It Bad Girl.” It was released by A&M in 1973, and featured a cover of ‘Superstition.’ Jones arranged the track and co-produced it with Ray Brown. They reinvent and transform this classic into a laid back track. Having said that, there’s a pulsating heartbeat throughout this slice of cinematic soul with a social conscience. It features Billy Preston, Bill Withers and Wonder on backing vocals. They play their part in the sound and success of what’s one of the highlights of the album.
Allen Jones produced The Bar Kays cover of ‘I Was Made To Love Her.’ It featured on their 1972 album ‘Do You See What I See?.’ The album was released on the Stax imprint, Volt. It’s a scorching reinvention of the track the band that was by then led by James Alexander.
Margie Joseph’s cover of ‘To Know You Is To Love You’ is sultry, sensual, soulful and features a vocal that’s heartfelt and emotive. She and her band seamlessly fuse soul and symphonic funk on this track from her 1974 album ‘Sweet Surender’ which was released on Atlantic. It’s a hidden gem and a reminder of a truly talented singer whose music deserves to be heard by a much wider audience.
‘What Are You Going To Do With It is a track from Betty Wright’s 1981 eponymous album. It was released on Epic, and was produced by Wonder, who also played keyboards. Again, Wonder’s influence and sound is apparent as Wright delivers an accusatory vocal against an arrangement that’s a mixture of soul and funk.
In 1971, Philly girl group changed their name to LaBelle. That year, they released their eponymous debut album, and provided backing vocals on Laura Nyro’s fifth album ‘Gonna Take A Miracle. When Labelle returned with their sophomore album ‘Moon Shadow’ in 1972, it reached 42 in the US R&B charts.
Vicki Wickham and Wonder coproduced LaBelle third album ‘Pressure Cookin.’’ It released by RCA in 1973 but failed ton chart. Nowadays, the album is regarded as a cult classic. It featured a cover of Wonder’s ‘Open Up Your Heart.’ When it was released as a single this soulful plea for understanding failed to trouble the charts. However, the album showed what the group were capable of, and in 1974 they released their classic single ‘Lady Marmalade.’
The best track on the compilation is ‘Until You Come Back To Me (That’s What I’m Gonna Do)’ by Aretha Franklin. This truly timeless slice of soul was released by the Queen of Soul in 1973. It sold over a million copies and reached number three on the US Billboard 100. Thirty-three years later it’s still a favourite of radio DJs.
‘We Had A Love So Strong featured on Randy Crawford’s 1982 album ‘Windsong.’ It reached number seven in the UK and was certified silver. The track features Crawford’s trademark silky smooth and soulful vocal which is full of emotion as she breathes new life and meaning into the song.
Closing ‘Black America Sings Stevie Wonder’ is the ballad ‘Evil’ by Lou Rawls. Reg Powell is responsible for an understated gospel-tinged arrangement. Rawls delivers lyrics that are as just as relevant today as they were in 1972, when the track featured on his album ‘A Man Of Value.’
Choosing just twenty tracks for ‘Black America Sings Stevie Wonder’ can’t have been easy. It’s estimated that Wonder’s songs have been covered at least 7,500 times. There’s been covers by soul, funk, gospel, jazz, pop, rock and country artists and bands. Many have stayed true to the original, while others have reinvented familiar and much-loved tracks.
‘Black America Sings Stevie Wonder’ features many familiar faces. This includes a number of artists who were also signed to Motown or Tamla. There’s also what will be new names to many music fans on the eighth instalment in this long-running series. This includes O.C. Smith and The Persuasions. They play their part in what’s an eclectic compilation. There’s everything from soul and funk to cinematic soul and symphonic funk along with elements of gospel, jazz, blues and rock.
The tracks that I’ve mentioned are among the best on the compilation. Honourable mentions must also go to The Supremes’ cover of ‘Bad Weather;’ Nancy Wilson’s irresistible take on ‘Uptight (Everything’s Alright);’ Marvin Gaye’s heart-wrenching reading of ‘You’re The One For Me;’ Sister Sledge’s dancefloor filler ‘As’ and The Main Ingredient’s sultry, soulful and cinematic hidden gem ‘Superwoman.’ There’s much to like on ‘Black America Sings Stevie Wonder,’
However, there are a couple of tracks that disappoint. This includes gospel group The Dixie Hummingbirds’ cover of ‘Jesus Children Of America.’ It sounds out of place on the compilation. That’s despite the group seamlessly fusing elements of gospel, funk and rock. The other is O.C. Smith’s reinvention of ‘My Cherie Amour’ as a ballad in 1968. Although he’s a truly talented vocalist, the track doesn’t quite work as ballad.
Having said all that, anyone who is a fan of Stevie Wonder, soul, funk or R&B music and of course, the Black America Sings compilation series may be interested in the latest instalment in this long-running series. ‘Black America Sings Stevie Wonder’ is another lovingly curated compilation and a welcome addition to the series. One wonders when the ninth instalment will drop and who will Black America be singing?
Black America Sings Stevie Wonder.
dereksmusicblog
