‘Psychedelia, Afro-Roots & Champeta In 1980s Barranquilla.’

His third LP, from 1976; another key moment in the development of Brazilian soul music, spearheaded by Tim Maia, Hyldon, and Cassiano.

A landmark blend of MPB, soul, and funk, from 1975.

Her classic third LP, from 1971, originally released by Odeon Brazil.
‘Gems like Que Bandeira, composed by Marcos Valle, blending funk/soul and bossa/MPB; Esperar Prá Ver, co-written by her brother Renato Corrêa, with its stunning arrangement and an epic bassline that is hard to get out of your head; the archetypal samba soul of Só Quero; and vocal-driven groovy jams like Por Mera Coincidência and Rico Sem Dinheiro, spiced with celestial strings and heavy-duty drums and basslines.’

‘A perfect blend of barrio attitude and Caribbean swing, from 1972. Confident, creative arrangements, full of heavy Nuyorican underground salsa dura, propelled by raw trombones, off-kilter piano and in-your-face percussion. Standout tracks include the uplifting, anthemic Libre Soy, and Ha Llegado El Momento, with its minor key Moliendo Café quote at the beginning — both of which have become dance floor anthems over the years. Another mid-tempo killer is Guaguancó Tropical’, a favourite in Colombia since the 1970s.’

‘Unknown spiritual jazz gem recorded in Argentina in the late 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp… and originally released on Litto Nebbia´s label Melopea.
‘This is the first and only album by this quartet of young musicians based in Buenos Aires, accompanied here by drummer Norberto Minchillo (associate of Jorge Navarro and co), and Litto Nebbia himself.
‘A favourite of Gilles Peterson, this mind-blowing album integrates highly accomplished ethno free-jazz and deep, progressive compositions. Led by saxophonist Marcelo Peralta, the album is a homage to the legacy of Coltrane… whilst Almas Liberadas and Un Hilo de Luz offer specific tributes to Pharoah Sanders.
‘This is the first reissue; with extensive notes and many previously unpublished photos.’

The victorious if unlikely 2004 return of the legendary Latin soul vocalist.
Bumping, clavinet-led, rare-groove funk… cosmic synths… that unmistakable voice… a modern soul anthem.

Discos Fuentes fire, rare as hens’ teeth, from 1975.
La Torta is first out of the oven, with a Colombian take on Haitian compas which was soundsystem murder, back in the day. The wild Fiebre De Lepra was the 45 — funky wah-wah guitar, makossa-style bass, manic organ, and feverishly insane vocals by Wilson ‘Saoko’ Manyoma and Joe Arroyo — backed with the heavy, strutting El Caterete, based on the 1970 Brazilian recording by Marku Ribas. The off-kilter funk and stomping breaks of Tifit Hayed have created a tropical dance floor favourite in recent years, boasting a massive Latin bass line, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, propulsive cowbell, and daft animal noises.

Lovely highlife and palm wine, wheezing afrobeat from the late sixties, early seventies.

‘From the Czech Supraphon archives, this 1966–1970 selection focuses on her roughest songs, with plenty of fuzz guitars and funky beats, punchy horns and razor-sharp organs underlying her deep and soulful voice.’

Two albums repackaged — Super Afro Soul and Orlando’s Afro Ideas 1969-72. Sublime Nigerian soul, jazz and funk grooves.