Masterly Barry White production from 1974, the same year Brock handed Gloria Scott his killer song A Case Of Too Much Love Makin’. The title track is the business.
Plundered by Jay Z, Mos Def and Pete Rock.

Rawly ethereal, other-worldly singing by members of hill tribes in China, Vietnam, and Laos.

Stark, moody, percussive amapiano.

Absorbing new music from Ecuador, named after a street in the historic centre of Quito.
A poignant, trippy, astute, bass-heavy blend of a range of styles including juke, reggaeton and UK garage, flavoured by their to and fro between Latin America and Europe.
Quixosis’ grandad was a key, controversial player in the explosion of musica nacional in the city in the early sixties, and the mix is studded with evocative samples of Italian chanson and South American folk from his record collection, in a kind of reverie about national and self identity, Beat Konducted at the centre of the world.
Check it out.

Sonatas or concerti, says Threadgill: Come and Go for saxophone and cello; Poof for saxophone and guitar; Beneath the Bottom for trombone; Happenstance for flute and drums; Now and Then for tuba and guitar.
‘By this point, the group’s reliance on the serial intervallic system that was the basis of the group’s unique sound is more felt than prescribed, relying on the musicians to fill in the rest.
‘All the other hallmarks are here: unpredictable forms, percolating rhythms, the interwoven melodic strains; there’s really nothing else remotely like it.
‘The best part of it all is that Zooid is the one platform where one still gets to hear Threadgill really play. His keening saxophone wail retains that unmistakable gutbucket blues feel, with no small measure of church thrown into the mix.’

This is terrific.
Scintillating, masterful, roaring, classic Cubanismo, beautifully recorded in 2017 at the storied Areito Studio in Havana.
Descargas, jazz, boogaloo, son… and some ritual music to bring the curtain down. You’ll find yourself hungry for more.
The musicianship is dazzling in every corner of the orchestra; set on fire by the timbales of Changuito (from Los Van Van), and booted along by a hard-swinging, full brass section led by trumpeter Julito Padron, graduate of the legendary septet Nacional de Igacio Pinero, and later Irakere. The sound is steeped in tradition but by no means stuck in the past.
The vinyl is beautifully presented in a heavyweight, high-gloss gatefold.
Joyous, superb music; the real deal. Hotly recommended.

The 1980 LP by this versatile organist, mainstay of the Washington jazz scene, who played with everyone from Chuck Brown to George Benson. Featuring the funky dancer Bebop Boogie, teeming with jazzy elan, and replete with breaks ‘n’ beats opening and numerous breakdowns, school of Take Me To The Mardi Gras.

Gene Russell signed Kellee Patterson to Shadybrook in 1976, after the demise of his Black Jazz label.
Three years on from her Maiden Voyage LP, he engineers and plays piano, but Kellee is running the show, with her own arrangements and production.
More bang-on covers, including a killer, sleazy Barry White and a rough Mister Magic (both revived by Jazzman a decade ago), to put a dip in the hip of all b-boys and girls, and I Love Music on speed.
William Upchurch is here, from Motown; Marlo Henderson, who plays guitar on Off The Wall; Don ‘Tabu’ Cunningham…