Paradigmatic late-sixties, early-seventies Philly soul, recorded at Sigma Sound, with Thom Bell, Norman Harris, Earl Young, and full crew. Neglected but wonderful stuff.

Fresh homage to Pharoah, Alice, Ra, and co, from an all-star Kiwi line-up.
‘Each instrument seems to be in orbit around the concept of symbiotic synergy, and everyone is given equal space to shine: from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, with a standout acoustic piano solo by Guy Harrison on Plume. The wind section delivers ecstatic saxophone riffs, futtering flutes and solid horn choruses throughout. Percussion, vibraphone and acoustic bass lay the foundations. A full choir performs arrangements by Matt Hunter.’

Recorded a year after the debut, continuing the earthy flow of Malombo’s music. The two albums have since been recognised as unique landmarks of South African jazz. Alongside full original artwork, both albums feature a new interview with Julian Bahula.

The Clarks’ fourth, pivotal album for Westbound’s Sound Of Gospel label, from 1979, hustling them firmly towards the dancefloor. Traditional soul-based gospel like My Cup Runneth Over alongside disco-influenced gems like My Life Is Complete With Jesus and ‘Everything Is Gonna Be Alright.

His final Flying Dutchman: classic jazz-fusion, imbued with Latin rhythms.
His brother Donald is in fine voice throughout, but that’s Lonnie himself singing on the grooving, anthemic opener; a kind of reprise of Expansions.
Next up, Renaissance.

Deep, vibesing, rootical excursions in Brazilian percussion, especially berimbau; originally released by Saravah in 1973.
Newly remastered from the master tapes; gatefold sleeve.
Fabulous.

‘This third solo album is a deep, widescreen exploration in classic Brazilian song with all the subtlety and delicacy you’d expect from the pioneers of Musica Popular Brasileira, coupled with a thoroughly 21st century sensibility and sonic innovativeness. Layers of intricate instrumentation and arrangement make for spellbound, excavatory listening.
‘Recorded following Gomes’ move from Rio to Lisbon, the album is imbued with a sense of unease and cultural dislocation. A number of songs based on the Samba Ostinato explicitly celebrate Brazil’s musical heritage and culture.
‘Led by Gomes’ gentle and dreamy voice, the music is often reminiscent of mighty trailblazers like Caetano Veloso, João Bosco, or Edu Lobo, though it takes unexpected lines of flight into more experimental territory. An element of drone underpinning the whole album takes full charge on Fllux and Transição; and the finale is molten, raging hardcore.
‘A sun-drenched, balmy dream from start to finish.’

The debut LP by the godfather of rocksteady, from 1967; choca with many of his signature recordings. Stone-classic songs over cornerstone rhythms, like I’m Still In Love With You, I’m Just A Guy, and Get Ready.
Crucial bunny.

‘Dizzying close harmonies and indestructible grooves on this lost classic from Ethiopia’s Golden Age.
‘Raised in the bustling cosmopolitan milieu of late-empire Addis Ababa, two young women released one single and a full-length LP in 1976, before disappearing from the music business entirely. Originally released on Kaifa, the label responsible for some of the heaviest and funkiest Ethiopian records of all time, Beauties was a hit, selling out in a few days. But it came out at the beginning of two decades of darkness and oppression in Ethiopia, and this is the first full reissue of this overlooked classic.
‘Beauties is at once totally unique and an amalgamation of all that came before it during Ethiopia’s explosive two decades of creativity in the 60s and 70s. Fans of Ethio-jazz will hear Mulatu in the dark, minor-key piano runs, turning in on themselves on songs like Amlak Abet Abet and Metche Neow. Interlocking percussion and rock steady basslines are a signature of the Army Band, which also backed greats like Tlahoun Gesesse and Mahmoud Ahmed. Arranger Teshome Sisay is also an incredible flutist, playing with both sensitivity and swagger on tracks like the majestic Ayinouma.
‘But the vocals are the most stunning part. Aselefech and Getenesh met at the legendary Hager Fikir Theatre in Addis, where centuries-old Ethiopian culture combined with the modern music of the capital’s elite. Trained in traditional music, their dual vocals lead in extremely close harmony, intertwined and infinitely creative in their phrasing.
‘By the time this record was released, the Derg Regime was imposing strict crackdowns on music and artistic expression. Targeted as allies of the deposed Emperor Haille Selassie, the artists (and most musicians) had to keep a low profile. This is one of the last great releases of the Ethiopian Golden Era.’