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We are proud to present the first full international release for another lost classic from the Black Fire Records archives, ‘Southern Energy’, the only album recorded by R’n’B and jazz collective Southern Energy Ensemble in 1977.

“As Southern Energy, we played the chitlin circuit and ended up gigging most weekends at clubs, universities and military bases in Virginia and North and South Carolina,” remembers leader Marvin Daniels. After meeting Plunky Branch and Jimmy Gray, they recorded some high energy sessions during 1977. “Southern Energy was tight,” continues Daniels.

“The album was all about positive messages and celebrating real people." The band would break up soon after the members left college. Canned following the original recording, the album eventually surfaced on a limited CD and LP on Black Fire in 1993. ‘Southern Energy’ has been remastered from the original tapes by The Carvery, and features unseen photos and brand-new sleeve notes by co-bandleader Marvin Daniels. - Strut

Takeru Muraoka, a saxophonist who played an active part in a group that symbolized the times, including Hideo Shiraki Quintet, Terumasa Hino Quartet, Count Buffaloes led by Akira Ishikawa, and Freedom Unity. He pursued a cutting-edge musicality while in the mainstream and led the Japanese jazz scene. As a sideman, he wields a number of works, while leaving leaders such as Takeru and Ride and Tie, who have a strong presence in the era as if to wedge. – Jazz Music Archives

Eight 1978 leader songs by saxophonist Takeru Muraoka, who was also active in the count buffaloes and freedom unity led by Hideo Shiraki quintet, Terumasa Hino quartet, and Akira Ishikawa, are from the Deep Jazz Reality series supervised by Yusuke Ogawa of Koenji record shop Universounds. Recurrence ♪ Innovative groove feeling, emotional melody, sharp sound image. A masterpiece in which all songs are listened to, incorporating the electric elements of fusion disco boogie. – Library Records

Amazing and unknown performance from legendary UK jazz prog fusion rockers Nucleus led by trumpet player Ian Carr.

A rare set as regular guitarist Chris Spedding who was absent for unknow reasons was not replaced by another guitarist (often Ray Russell) but by a second keyboard player: Hywel Thomas.

Recorded on friday june 11 1971 in a small club called the Exit in Rotterdam The Netherlands. – 678 Records

At the cross section between Jazz, Soul, Rock, Blues, Hip Hop, R&B and Funk stands Stimulator Jones. Coaxing strings that tremble with a cosmic frequency, keys beat in soulful repose while percussion relays some ancient, deep-rooted pulse. This is Stimulator Jones on La Mano. 

Stimulator Jones’ sophomore LP finds its way on the Oslo-based record label Mutual Intentions as the artist explores the musical possibilities contained in his hands. La Mano is a striking collage of sonic hues, developed through 13 musical vignettes across the LP. Prodigious and far-reaching influences are re-defined in succinct musical clusters as La Mano travels from Kingston’s bustling yards to serene Parisienne walkways.

A multi-instrumentalist whose talent matured through the iconic Stones Throw camp, Stimulator Jones broke onto the world with the sensational Exotic Worlds & Masterful Treasures in 2018. Developing a distinctive fusion in his craft, the artist made bold strides on his debut, as rumbling bass-lines and visceral keys, counterpointed Jones’ delicate and tender vocals. The album presented an artist, who could harness the intricacies of the great musical languages of our age in the accessible executions of a pop song.

La Mano finds the artist treading a new, yet familiar path, resting his vocal chords as he puts his hands into action. Playing an arsenal of physical instruments, Stimulator Jones’ dexterity is visceral as he moves between keys, guitars, drums and wind instruments. Arrangements coalesce around organic- and synthetic sounds that live in some tranquil equilibrium with the first vibration of the universe.

Cruising grooves and mellow melodies convey a gauzy touch, breaking down the intellectual barriers of genre for the corporeal intimacy of the soul. La Mano finds the artist diligently pursuing an exploration in a fusion of musical languages, which he channels into novel territory on his debut for the Mutual Intentions collective. – Bandcamp

There Is No End was produced by Tony Allen, Vincent Taeger, and Vincent Taurelle — Allen had produced and written all the album’s beats back in 2019 alongside Taeger. In thinking back on the process of finalizing There Is No End without Tony physically present to guide them, Taeger remarked that his friend and mentor “was a teacher without speaking… a drummer and a guardian, with a great artistic vision and that vision filled the songs even after he had left us.” Renowned Nigerian novelist and poet Ben Okri, like everyone else involved in this valedictory album, had a very similar experience, declaring in awe that “this man could have lived another 150 years and kept creating new worlds. He had become the master shaman of his art. He knew himself and his mind. He wanted the album to be open to the energies of a new generation… but like a great mathematician or scientist who found a code for a new world, with just a few beats, he created this extraordinary canvas.”

“Cosmosis” came together just as Tony, Damon Albarn and Nigerian-British rapper Skepta had finished tracking their collaboration, “How Far?” for the Gorillaz 2020 album Song Machine, Season One: Strange Timez. Ben Okri wrote his lyrics as a tribute to Tony, to ask “How do you absorb a cosmos or integrate a cosmos, enrich a world, infiltrate in the highest possible way and change the mentalverse, the spiritverse; it’s by cosmosis.”

Tony Allen’s singular talent didn’t end when the music stopped. For all those who knew him, he was a deeply spiritual man whose life’s mission was not just to create a new musical language, but to pass it on to subsequent generations. As he put it, “I’m just doing my best to please the universe. Life’s a boomerang, you know? You create bad or good [and] it comes back to you.” Right up to this, his last album, his thoughts were for the younger artists who continued to flock to him, especially in the fraught historical and political moment in which we live. “I want to take care of youngsters; they have messages and I want to bring them on my beat. The idea is to transmit to the young generation, to mix different universes – the hip hop world to the Afrobeat world.” – Blue Note

Chester Thompson Powerhouse (Remastered Vinyl Edition) LP Regular Version

With long-standing stints in Tower of Power and Santana, Chester Thompson just might be the most decorated and distinguished keyboardist in all of rock and R&B, let alone of the Bay Area musical scene. It's little wonder that this 1971 album, then, is one of the rarest and most coveted albums on the highly collectible Black Jazz Records label'it's Thompson's debut record, cut a couple of years before he joined Tower of Power, with a smokin' band featuring fellow Black Jazz recording artist Rudolph Johnson on sax along with ace drummer Raymond Pounds (Pharoah Sanders, Stevie Wonder, Pointer Sisters) and trombonist Al Hall (Johnny Hammond, Freddie Hubbard, Eddie Harris). And, yes, Powerhouse comes by its title honestly'it's jazz, all right, but injected with a jolt of electricity courtesy of Thompson's Hammond B-3, and with just four tunes spread out over two sides, it's pretty much a nonstop groove. Newly remastered, and with liner notes featuring quotes from fellow Tower of Power member Dave Garibaldi and Bay Area keyboardist Todd Cochran a.k.a. Bayeté that testify as to Chester Thompson's greatness, this is another long-lost triumph from the Black Jazz label. First-ever vinyl reissue! – Real Gone Music

Official half-speed mastered re-issue of British trumpeter and bandleader Ian Carr's iconic jazz-fusion-rock hybrid ‘Belladonna’ from 1972.

Originally released on the Vertigo label, complete with collectable ‘swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70’s. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano saxophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few.

Seen as a benchmark point in Ian Carr's career, 'Belladonna’ is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain’, which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70’s, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. ‘Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in.

To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself. – Mr Bongo

One of the best jazz-funk-fusion albums from the '70s Euro scene, featuring such giants as Charly Antolini (famous for his MPS recordings) on drums, Max Greger Jr. on electric piano, Moog, Hammond, and Mellotron, and Milan Pilar on electric bass. Top-notch jamming and soulful funky-jazz sound with some kraut-prog touches, recorded at the legendary Studio 70 in Munich. Includes the rare-groove classic "Onkel Joe" and more. Original artwork and master tape sound. – Forced Exposure

"Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here -- not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd..." – Elusive Disc.com

Though it's hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry 'The Skipper' Franklin would have to be near the top of the list. Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-'60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela's band (that's Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it's hard to make comparisons; definitely a little fusion, a little '60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired ('Little Miss Laurie') and funk-infused ('Plastic Creek Stomp') sides of jazz, but perhaps the best comparison is late-'60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. Remastered for CD and vinyl by Mike Milchner at Sonic Vision and featuring liner notes by Pat Thomas, this Real Gone release is a first-time LP reissue and a must-have! – Real Gone Music

The Nineteenth Whole were an Indianapolis-based funky jazz outfit who were part of a very vibrant scene. Jazz guitar legend ‘Grant Green’ had originally hailed from there and he recruited the members of the 19th Whole as his rhythm section for live dates. (Green also discovered the other great Indianapolis jazz outfit Funk Inc. at about this time.) The attention that followed their work with Green allowed the Nineteenth Whole to sign with producer Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic) on Eastbound, a label he had set up with Detroit independent Westbound Records.

Fronted by Billy Wooten’s distinctive vibes, joined by guitar legend Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin’s ‘Respect’) and percussionist Buddy Caldwell (THE session musician for respected labels such as Prestige & Muse) makes Smilin’ an organ funk groove classic at its best!

Recorded in 1972 by the legendary Rudy Van Gelder (known for recording Miles Davis in the early 1950’s and the countless work he did for Blue Note, Prestige, Verve .. and many others) at the Indianapolis club that gave the band their Eastbound name: ‘The Nineteenth Whole’. Production on the album was handled by Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic).

Presented here are five lengthy soul-jazz pieces (including material from ‘Sly Stone’, ‘War’ & ‘The Jackson 5’) with funky grooves and some of the best sparkling organ & guitar licks you’ll ever hear. This album sets the stage for a constant shift in grooves, a collage of earthy Funk, Soul, Rock and Jazz Fusion straight outta 1972… an emotional ride packed with the main ingredients for a ‘get down’.

The Nineteenth Whole’s first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited (500 copies) deluxe vinyl edition. – Tidal Waves Music

A quintessential work of Japanese big band jazz recorded by the New Herd, headed by one of Japan’s foremost jazz musicians, Toshiyuki Miyama. It is a further concretized continuation of Miyama’s exploration of ‘Wa (Japanese) jazz’ that drove his previous record, ‘Nio and Pigeon’. By intentionally eschewing the use of traditional instruments and sticking to the basic elements of jazz, this masterpiece achieves a unique realization of ‘Japanese jazz’ solely through the arrangement/instrumentation vibes that vary with the theme. Using musical expressions ranging from free jazz to jazz-rock, the record’s tracks come together to form a suite that embodies the poetic sentiments of traditional Japanese folk tales in a magnificent and breathtaking manner. – Light In The Attic

And what if the infamous UNDERGROUND and OVERGROUND albums had a third psychedelic chapter, still secret and unreleased until today? Yes, you heard correctly: this SUPERGROUND LP is sonically akin to the legendary pair for which composer Sandro Brugnolini will always shine worldwide, and ideally brings the trilogy to a close. Composed and recorded in two sessions between July 1969 and November 1970, the album echoes the shocking 1969's Charles Manson massacre, with tracks dedicated to the villa at Cielo Drive, in Hollywood, where Sharon Tate e Roman Polanski lived for six months. Some music was also used for an animated short movie signed by Pino Zac, “Radice Quadrata di 3”, a little art-film gem about the consumer society.

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The recordings have all in common the terrific line up, featuring MARC 4 members Antonello Vannucchi (organ), Maurizio Majorana (bass), Roberto Podio (drums), along with Angelo Baroncini (guitar) replacing Carlo Pes. An incredible groovy combo that plays a strange psychedelic rock and r’n’b with funky and prog flavor. Another lost masterpiece from Italian golden age soundtracks finally rescued and brought back in life to see the light of the wax for its very first time. - Bandcamp

Following the highly acclaimed Volume I, dig further into the Wamono sound - the cream of the Japanese jazz,  funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan! 

- Fully licensed Nippon Columbia and Victor Japan masters available for the first time outside of Japan, featuring rarities from Jiro Inagaki & Soul Media, Hiroshi Sato, Bread & Butter, Hatsumi Shibata, Fujio Tokita and more!

- Tracks selection by Japanese super diggers and Wamono specialists DJ Yoshizawa Dynamite and Chintam

- Mastered and cut at Timmion Cutting Lab

- Artwork by Yoxxx (Tokyo)

- 180g heavy vinyl pressing, reverse board jacket - 180g

It's safe to say that starting a jazz album with a version of Led Zeppelin's "Black Dog" was quite a daring deed, to say the least. In Argentina -- back in 1977.

And yet this is something a musician with the career of Jorge Navarro could afford. Navarro belongs to a generation of musicians who shaped the history of jazz music in Argentina, starting already in the mid-50s alongside other renowned jazzmen such as Lalo Schifrin, Leandro "Gato" Barbieri, "Baby" López Furst or Jorge López Ruiz.

This tightly-knit group of musicians often looked abroad and followed the dominant current in the US, going through swing and be-bop phases, but towards the end of the sixties many started to develop their own identity, a tendency that intensified in the early 70s.

In Argentina, "con polenta" is an expression used to describe something with great energy or strength -- which perfectly defines the mood for the album. As many other musicians, most notably Schifrin and Barbieri (who enjoyed a huge international success and would only sporadically return to Argentina), Navarro had just left the country and spent several years in the USA, returning to his homeland full of energy and new ideas, which translated into his debut solo album. A rocking blend of Jazz and Funk, the album unexpectedly kicks off with a groovy cover of Led Zeppelin's "Black Dog" and includes equally wicked takes on compositions by Eumir Deodato, Keith Jarrett and Joe Farrell, as well as two self-penned originals and a funky number by Roberto Valencia, who's in charge of percussion in the album.

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

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Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

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Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, ​“There Is A Place” ​on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. – Bandcamp

Cleveland Josephus Eaton II (August 31, 1939 – July 5, 2020) was an American jazz double bassist, producer, arranger, composer, publisher, and head of his own record company in Fairfield, Alabama, a suburb of Birmingham. His most famous accomplishments were playing with the Ramsey Lewis Trio and the Count Basie Orchestra. His 1975 recording Plenty Good Eaton is considered a classic in the funk music genre. He has been inducted into both the Alabama Jazz Hall of Fame and the Alabama Music Hall of Fame. – BBC

A TAV Curator’s Pick.

Black Jazz Signature is a compilation album by American artist Theo Parrish. It was released in 2013 by Snow Dog Records, and features tracks from the 1970s record label Black Jazz Records.

Black Jazz Records was an independent jazz record label founded in Oakland, California  by jazz pianist Gene Russell and percussionist Dick Schory. The label was created to promote the talents of young African American jazz musicians and singers, and released twenty albums between 1971 and 1975. Some of the more notable artists to record for Black Jazz Records were Cleveland Eaton, former bassist for Count Basie and Ramsey Lewis, and pianist Doug Carn, whose four albums were the most successful of any Black Jazz artist.

Russell's vision for Black Jazz Records was for it to be geared towards the Black community, and all of the artists recording for the label were African American. The label was created as an alternative to traditional jazz, invoking a more political and spiritual tone, often with funk overtones.Black Jazz released various types of music including, funk, free jazz and soul jazz. Black Jazz Records was also known for its unique album cover concept, which was copyrighted by the label. The concept included a design that allowed the title to be shown regardless of how the albums were positioned in the browsing rack at record stores. All of the albums had white lettering on a black background, with the liner notes and personnel listed in the same place on each of the labels releases.

Snow Dog Records acquired Black Jazz Records in 2012, and began re-issuing the albums as its first project. The remastered albums included new liner notes and previously unpublished photographs. They have also released a series featuring re-mixes of Black Jazz material produced by DJ's from Japan, Germany, and the United States: DJ Mitsu, Gilles Peterson, Muro, and Theo Parrish. - Wiki

"It's a demanding, almost numbing record. Parrish's selections and hands-off approach pays off and then some. This kaleidoscopic mix emphasises the Black Jazz catalogue's consistently searching brand of music, and both complements and abridges one of jazz's most undersung and thrilling musical footnotes." - The Quietus

 "an exhilarating listen and the perfect reflection of Black Jazz Records’ singular musicians, Black Jazz Signature is a record you will probably keep and return to for life." - FACT

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Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'yō players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future-classic as much as we do. – Mr Bongo

The London jazz musician’s latest stakes out a middle ground between spiritual fire and smooth jazz. - Pitchfork

Wu Hen is the sophomore album from Kamaal Williams — an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases. Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage – a self-styled fusion Kamaal describes as Wu Funk. – KamaalWilliams.com 

“The Ghetto Walk” originated from a session that resulted in Davis’ innovative 1969 studio album, In a Silent Way. Glasper isolated one two-chord pattern from the nearly 27-minute piece (released as part of the 2001 box set The Complete In a Silent Way Sessions) and looped it into the foundation for a jazz/hip-hop track.

AD “‘Ghetto Walk’ was so dope,” he says. “I got the concept quick because the name was already there. It’s called ‘Ghetto Walk.’ Those chord changes we sampled lend themselves to hip-hop so well.” – Rolling Stone

Skull Session is a monster of an album that keeps Nelson’s 1960s trademark sound but takes a deep dive into Jazz-funk and adds disco, groovy soul, Bossa nova and electronic funk in the process. Oliver Nelson successfully included electronic instruments (like the Moog & ARP) and the incorporation of the rhythms that are often associated with them…all this without detracting in any way from the high-quality recordings he became known for. Every track is an original composition with a strong melody line and an imaginative arrangement…all living up to Oliver Nelson’s tremendous reputation as an arranger and composer. A sonic testament in every sense of the word. This is a GEM that is a must own for any kind of Bop fan. ​

Today we are proud to present to you the much-needed vinyl reissue of this outstanding album originally released in 1975 on the Flying Dutchman label. This reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies), packaged in a gatefold jacket featuring the original artwork and sleeve notes by jazz novelist Nat Hentoff. – Tidal Waves Music 

The Jazz-Funk cult classic reissued!

Experience Unlimited (also known as simply E.U.) was a Washington, D.C.-based go-go/funk band that enjoyed its height of popularity in the 1980s and early 1990s. Fronted by lead singer/bassist Gregory "Sugar Bear" Elliot, the group has had a fluctuating membership over the years, but they have maintained a fairly loyal following. – Wiki

“Oneness of Juju’s classic African Rhythms is a bold, badass concoction of Afrobeat, soul, jazz, and funk, held together by an undeniable sense of cool. Originally released on the Black Fire label in 1975, the album was first reissued by Strut in 2002. Now, the label has reawakened African Rhythms with a new edition that comes with two additional cuts, “African Rhythms (45 Version Parts 1 and 2)” and “Afrobeat.” Led by James “Plunky” Branch, a brilliant musician and activist, the New York band forged a riotous set with a power that refuses to wane.

Take the title cut, for instance: Blaring horns recall the work of Fela Kuti, while the sound of rowdy bystanders clapping along—bellowing to the music—imbue the song with a spontaneous festivity that feels totally appropriate. From there, the album shifts subtly, to the upbeat jazz of “Mashariki” and its peppy sax work. There are shades of Sun Ra’s Afrofuturism on “Incognito,” and traditional West African percussion on the bongos-laden “Chants.” The meaner funk of “Don’t Give Up” could soundtrack a night drive through 1970s New York.” – Bandcamp

“From a trailblazing band featuring members well-versed in jazz, funk, gospel, and African music, the debut album by the Oneness of Juju displayed a group playing with the dexterity of Kool & the Gang, the forward-thinking musical ideas of Herbie Hancock, and the social consciousness of Gil Scott-Heron. The title track is fiercely kinetic, with vocal choruses prodding listeners to dance and Plunky's echo-drenched saxophone floating serenely over the top of a funky space-jazz backing.” – All Music

DJ, record label impresario and former Swedish champion b-boy, Mad Mats knows a thing or two about finding good music. As well as iconic underground imprints Raw Fusion and GAMM, Mad Mats is a partner in the highly regarded Local Talk label, making it highly probable that most of the world’s influential DJs have at least one of his discoveries in their record bags.

For his first compilation on BBE, Mats has put together a diverse selection of cuts; from reggae, hip hop and soul to boogie, electronica and house, reflecting his open-minded approach to DJing. “The compilation is very mixed, just like how I like to DJ...all freestyle. Yes, I play a lot of house clubs nowadays because of Local Talk, but at heart I've always been a so called "eclectic" selector. Most of these tracks are tunes I’ve played all over the years, sprinkled with some brand new discoveries.”

Coming from a strictly vinyl background, when Mats embraced Serato around 2005, he carried his crate digger’s mentality with him. Believing firmly that digging should always about the discovery of great music regardless of the format, the concept of ‘Digging Beyond The Crates’ was born.

Ranging far and wide in terms of genre and tempo, the album is tied together by one common factor; this is feel-good music made for dancing. “I'm just as hungry (probably even more so) to find my personal gems as I was back in the day, I just look for them with more variation. This album is dedicated to those select few individuals, just like myself: highly driven music lovers, collectors and DJs that truly are DIGGING BEYOND THE CRATES!” – BBE on Bandcamp