Outstanding Tubbys.

From 1979, and including UFO — rumbustious disco, Arkestra-style, featuring Marshall Allen on oboe, with solos from John Gilmore, Taylor Richardson and Michael Ray (who also mixed the album, layering in pre-recorded material).
Seductive Fantasy lines up John Gilmore, James Jacson’s bassoon, some fine baritone saxophone and some electric guitar and bass, Marshall Allen’s oboe and Eloe Omoe’s bass clarinet, with great piano-playing from Ra throughout, and towards the end some arco strings.

‘Classic Vinyl.’

At the turn of the sixties, pushing at the soul-jazz envelope (and tripping out on Eleanor Rigby) — with Lee Morgan, Julian Priester, Bennie Maupin, Melvin Sparks, and Leo Morris.

Whoa this record is totally killer.
Intensely concentrated, but with a fresh spontaneity; super-charged with expressivity.
The singing is riveting, diva-esque; the mbalax rhythms are dazzling.
At every turn there are sensational, thrilling injections of Basic Channel and Rhythm & Sound.
Hotly recommended; it’s a must.

Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.
Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit’s previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula,” says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here…

‘One of the best, rarest and most sought after South African recordings of the early 1970s, available again for the first time since its original South African release — the tough, jubilantly swinging township groove of The Jazz Clan’s 1973 debut LP, Dedication. It captures the acoustic jazz sound of the early 1970s in its pomp — a handful of tightly wound songs jostling for space, blending uptempo soul-jazz sensibilities with Latin influences and pronounced township jazz accents, the latter especially audible in Dimpie Tshabalala’s piano vamps, Jeff Mpete’s pattering hi-hat emphases, and the unmistakably South African swagger and dip of the horns on cuts like Rabothata. It is music on the brink of a transition, looking ahead but still dedicated to the sound of the golden years, and it could have been made nowhere else on earth but in Soweto.’

From the same 1979 recording sessions as Strange Celestial Road, this is one of Sun Ra’s best-loved, funkiest records, with John Gilmore in full flight, and a bigger Arkestra than had just played the Moers festival.

Vinyl selections from CD Volumes 1, 4 and 8… featuring Mulatu Astatke.

“In the beginning of the pandemic we decided to take a turn and move to a small beach close to São Paulo, right in the middle of the rain forest… water definitely took a major role in our lives. We were living right in between the ocean and a waterfall, it´d rain for days on a roll sometimes and it was an open house where we had the sound of rain 360 degrees around us… I kinda think our music has a little of those different dynamics of water in its different states. Also, it might seem strange but São Paulo is a city in the water too, and it has a very chaotic relationship with it.”

‘The music itself is difficult to pin down: always kinetic and driven by fluid, nimble percussion, with a freeness to the sound overall, but also discipline, as the pair harness and channel the elemental force from which they’ve drawn their inspiration. At times the lines between Takara’s skittish percussion and Boregas’ idiosyncratic synth work and sound manipulation blur into flowing rivers or torrents of sound — here, both water and sound have the ability to awaken in us different memories, and emotional or physical states.
‘We could say say their sound contains clear influences from jazz, classic dub, krautrock, and the outer limits of post-punk. Contemporary allies include Holy Tongue, Shackleton, Oren Ambarchi…’

‘Welcome to the Kalakuta Republic — havin’ a ball.’ Buy this for the wonderful JJD, 23 minutes live and direct, with all the cogs of the Africa 70 band well-oiled and whirring together.

Wildly compelling tapestry of free jazz, dubby electronics, marimba grooves, funk, blues and African folk, recorded in Philadelphia in 1972.
‘My ancestors eventually show up in my music every time I play. I’ve always said that my backyard is Africa.’

Heavy Lloydie Coxsone production (with Sly, Horsemouth, Malawi, Bagga, Chinna, McCook and the rest), featuring Shaka favourites like Homeward Bound and Voice Of The Poor. Tougher than the classic Black Star Liner album.