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Jazz is most often a collegial endeavour, but it has a star system too. It’s hard to overstate the significance of Sons of Kemet’s Shabaka Hutchings, a saxophonist whose relentless energy and pioneering spirit have been key to the development of the British jazz scene over the past decade.

Dividing his youth between London, Birmingham and Barbados, Hutchings played with the Ethiopian jazz great Mulatu Astatke, among other more routine jazz apprenticeships. Currently, Hutchings has three bands – Kemet, the South African-leaning Shabaka and the Ancestors, and the Comet Is Coming. Tomorrow’s Warriors, the forward-thinking London jazz incubator that schooled so much of the current crop of musicians in their teens, have become Today’s Warriors. They could hardly have a more urbane, bold and deep-thinking field marshal than Hutchings.

Sons of Kemet’s fourth album is his most outgoing and evangelical yet, but it carries no trace of compromise. There are tenor sax melodies here that could be chanted on terraces, Seven Nation Army-style; motifs that milkmen could whistle. Although committed to extemporisation, Sons of Kemet’s music is as rooted in the brass-laden carnivals of the Caribbean and London garage raves as it is in the more established American traditions. – The Guardian

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Like all Hutchings' albums, Black To The Future comes with a manifesto-cum-sleeve note. The key passage reads: "The meaning [of the album] is not universal and the cultural context of the listener will shape their understanding...[but] the overarching message remains the same: for humanity to progress we must consider what it means to be Black To The Future." The narrative is laid out in the sequence of track titles: Field Negus / Pick Up Your Burning Cross / Think of Home / Hustle / For the Culture / To Never Forget the Source / In Remembrance of Those Fallen / Let the Circle Be Unbroken / Envision Yourself Levitating / Throughout the Madness, Stay Strong / Black.

Spoken word features extensively and should there be any doubt about the album's message, it is removed by the performance poets, MCs and rappers who are guest artists. These include Chicago's Angel Bat Dawid, Philadelphia's Moor Mother and London's MC D Double E, Kojey Radical and Joshua Idehen. Instrumental guests include three of the younger stars emerging on the London scene: alto saxophonist Cassie Kinoshi, trumpeter Ife Ogunjobi and trombonist Nathaniel Cross. Another particularly welcome face is the pioneering tenor saxophonist Steve Williamson, who pre-pandemic was making a tentative return to the stage following a decade and more out of the public eye fighting depression. One of 2019's live highlights was Williamson fronting his alma mater, the Guildhall School of Music & Drama's, student Jazz Orchestra in a one-night-only performance titled "Celebrating Coltrane." 

A decade and more on from graduating from the Guildhall himself, Hutchinson is frequently described as a "saviour of jazz." What does he think about that? "I think it's a good marketing technique to sell some papers or get some clicks," he says. "But I'm just doing my thing. Actually I don't think jazz was ever in a compromising position, it never really needed saviours." Be that as it may, Black To The Future is a shot in the arm. – All about Jazz

An extremely rare, never-before-reissued, in-demand set by an unknown, single-album band from the early 80s, recorded in Nigeria’s Tabansi studios by an augmented Ghana highlife band.

So, who plays and sings on this beautiful collection? Unfortunately little can be gleaned from the original sleeve, which features a picture of only two band members on the cover and no credits or notes whatsoever. The vocals are ‘pure Ghana’, but our guess is that some of the keyboard parts are taken by Tabansi’s peripatetic production genius Jake Sollo- who may have had a part in the characteristically clean production and engineering, too. And it wouldn’t be surprising if a handful of the Tabansi Studio Band- the incredibly versatile Martins Brothers and cohorts thereof - found their way into the mix somewhere along the line.

The music? Varied cuts of classic late 70s/early 80s Accra highlife, as well as South African township jive-flavoured horn sections and Afro-Cuban clave patterns. - BBE

On this rare pressing from Nigeria’s Tabansi label, reissued by BBE Music, we have the mystery man Ojo Balingo, juju music master.

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Popularised all over the globe by King Sunny Ade in the 1980s, juju music had actually been around for decades before. Resembling highlife music in many ways, juju could be described as a more traditionally African form, mainly played by Yoruba people for Yoruba audiences.

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Although the original sleeve artwork implies that this is a ‘various artists’ album, it’s pretty clear that it’s the same unnamed juju band throughout, performing two long tracks, one on each side. Side 1 calls forth more traditional juju sounds, whilst the darker Side 2 adds funk breaks galore. Psych-rock Hawaiian guitars, talking drums and political lyrics rub shoulders in this almost-unknown 70s juju rarity.

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Ojo Balingo, in Yoruba, means ‘rain comes’, or ‘a breeze comes’. And so it does, with this never-before reissued obscure collectors’ vinyl from the vaults of Tabansi Records.– BBE

The music on this compilation features a range of modern Japanese musicians who have each sought to expand genre boundaries by fusing different styles. Hailing from different musical backgrounds they are united by a common goal to deliver a distinctly tropical strain of sound, or what Time Capsule label boss and compiler Kay Suzuki refers to as Island Music. ‘Although this collection concentrates mainly on recent bands it doesn’t try to reflect what is currently popular. Instead, each artist has used a mixture of craftsmanship and their own personal experiences to experiment with styles and reshape them into new and unique forms. I feel strongly that they deserve more exposure around the world’ he says. 

Speak No Evil are a perfect example of this cross-pollination of musical forms. Led by musician Akira Tatsumi, a veteran of Osaka’s verdant ska and calypso scenes, the band was formed from a regular jam session between the city’s reggae and jazz musicians to see what they might be able to create with combined forces. Their version of the same-titled classic by legendary saxophonist Wayne Shorter transports the jazz classic into new pastures, as the band takes Shorter’s sweet refrain on a reggae trip, the track finds a natural meeting point between the two genres, adding snappy riddims to jazz’s innate sense of swing. – Bandcamp

Solid reissue of this piece of highlife history from Ghana!

One of the strengths of this offering is the variation of sensations and writing throughout. It is impossible to get bored listening from start to end. The second song ‘Alexandria’ brings out the fierce, rhythmically armed side of the band. This buoyant number is designed to get you up on the dance floor, with stimulating horn melodies and unabashed organ chords, set against funky drum patterns. Artifacts closes with ‘Lunar Eclipse’.

The reed-infused breathiness conjures images of wind blowing through uninhabited landscapes ready for exploration. As if leaving you on a cliff-hanger, this is where your musical exploration sadly ends. The discordant key stabs encourage visions of rugged lunar surfaces as you wonder what lies behind.  Maybe they’ll reveal more on their next album.

Black Flower are a band that on first listening may sound abstract and hard to digest, but upon further plays take you into a dreamlike exploration of illusory soundscapes.  Full of personality and character, this is an assemblage of innovative minds that master a brand new art piece which truly reflects our multifarious environment. – Rhythm Passport

Now-Again Records presents a reissue from the black fire catalog – JuJu live at the legendary Brooklyn Venue in 1973. Essential spiritual Jazz here, comes with a 12 page booklet with extensive notes on the album, the black fire collective and the musical and cultural revolution they created. Sounds of Sun Ra, Alice Coltrane, early projects from Detriot’s Tribe label can be heard here with that strong fire of creativity and improvisation.

Ajate is a Japanese band who plays a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Formed in 2011 by the band-leader John Imaeda, Ajate consists of 10 Japanese musicians.

Another unique feature of the band is the use of hand-made bamboo instruments as well as traditional Japanese percussion. The "Jahte" is a bamboo-made xylophone or balafon with a piezo pick-up mic attached to each key, connected to a pre-amplifier to obtain a loud sound and to add some touch of dirty distortion to its warm and natural acoustic sonority. The "Piechiku" is also a bamboo-made string instrument inspired by the west-African "Ngoni" or Moroccan "Guembri" instruments. The Piechiku uses strings of the Japanese traditional "Shamisen". This instrument is also played through a pre-amplifier and John sometimes adds some wah-wah effect to it. All these bamboo instruments are designed, made and named by John Imaeda himself.

On Alo you will also be amazed by the exceptional sound of the Japanese Shinofue flute, which was not on the previous Abrada LP.

Now, add to this unique sound some well-crafted Japanese female and male singing and you get a killer mix of Afro-Funk flavored grooves with traditional Japanese music! – Bandcamp

Black Market Brass’ sophomore record, Undying Thirst, is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting Undying Thirst from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry.

LP is packaged in high quality Stoughton Tip-On gatefold jacket, LP stored in an anti-static innsersleeve, and includes a download card. – Colemine Records

 Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records. 

Released November 8, 2019 Licensed from Clinton Roberts.

Official Mr Bongo reissue. – Mr Bongo

 Deep Funk and BAD Afro! Blending influences from 1970s Nigerian Afrobeat with the deepest of street Funk, The Seven Ups are the original 7-piece party band. Expect unrestrained solos by unkempt horns over an unpretentious rhythm section whose only interest is laying it down! – Northside Records (Bandcamp)

Formed in 2002 in Ottawa, Canada, the Souljazz Orchestra have been releasing a series of genre-defying albums and touring throughout the world ever since. The band may mention soul and jazz in its name, but on their new album, Chaos Theories, the Souljazz Orchestra reveal themselves to be well-versed in the sounds of reggae, ska, disco, and punk, along with a little bit of both jazz and soul. The band also continue their tradition of outspoken political commentary throughout the album. 

Led by keyboardist/percussion/singer Pierre Chrétien, the Souljazz Orchestra includes Philippe Lafrenière (drums, percussion, vocals); Marielle Rivard (percussion, vocals); Ray Murray (baritone saxophone, percussion, vocals); Steve Patterson (tenor saxophone, percussion, vocals); and Zakari Frantz (alto saxophone, percussion, vocals). – Pop Matters

'Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive – he will be touring Europe throughout 2019.' This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings.' - Mr Bongo

‘Higher Plane Breeze’ (released in 1977 on Polydor Nigeria) is Ofege’s third album and it’s a STRONG one, combining funk and disco influences with Afrobeat and heavy rock guitars. The album provides one of the Nigerian scene’s most iconic images with its cover shot showing one member squatting amongst his bandmates, middle fingers raised high and proud toward the camera.

Tidal Waves Music now proudly presents the first reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’ who also supervised this reissue. - Tidal Waves Music

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor. Originally released in 1978; now extremely difficult and expensive to find in its original form. Today Ebo Taylor Jnr plays keys in his fathers band that continues to tour when he is able to. – Light In The Attic

‘Synchro Sound System & Power’ features the music of Nigeria Fuji Machine, which includes some of Nigeria's finest ‘Fuji’ master drummers and singers, and is newly recorded by Soul Jazz Records in Lagos.

Fuji is the heavily percussive and improvisational style of Nigerian popular music, at once modern and yet deeply rooted in the traditional Islamic Yoruba culture of Nigeria.

Here on this album Nigeria Fuji Machine’s striking and powerful lead vocalist Taofik Yemi Fagbenro soars above a wild and energetic backdrop of polyrhythms played on traditional talking drums, trap drums, electronic and street percussion to create a powerful wall of intense sound.' - Soul Jazz Records 

“Demon Fuzz was an afro-rock group which was formed in 1968 and broke up in 1972. Its members had all immigrated to Britain from Commonwealth countries. The band's name means "devil's children or bad policemen". They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz and African music. Their album, Afreaka!, has become a popular source for sampling. Since 2008, they have received sporadic airplay by the BBC radio presenters Huey Morgan and Gideon Coe."– Wiki

“Afreaka! was the only release by Demon Fuzz. Released in 1970, Afreaka! is a wild mash of Afro-Latin funk, breakbeats, tripped-out soul, jazz fusion, and psychedelic journeying. These seven black musicians took on everything that was happening, and were musicians enough to make it work for them. Most tracks run in the eight- and nine-minute range and get down with tough drums at the core, with rhythmic shifts happening on a grooved dime. Killer horns, Hammond B-3s, electric guitars, and deep tough slinky funky bass all wind together to create a mix so utterly intoxicating and fluid that it's difficult to take in one listen. This is the real deal -- solid, freaky-deaky, and groove-centric. Not to be missed.” – All Music

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