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Over a fifteen year period Joe Lovano has established himself as the premier Blue Note saxophonist of the new era since the label was relaunched in 1985. Indeed this new album is his twenty-second and he has recorded in ever conceivable format over this period. For this latest offering Lovano has surrounded himself by a new, dynamic band, but one that has cemented its relationship via a week In general this album has a markedly freer feel than on previous albums (such as the pairing with Hank Jones or the quartet with Michel Petrucciani from the mid-1990s). However, it is always freedom within a coherent and clear structure and it is Joe’s omnipresent lyricism displayed on a variety of reed instruments that shines through. Perhaps the most striking composition (all pieces were self-penned by Lovano)is ‘Page Four’ on which Lovano plays alto clarinet and upcoming and immensely talented bassist Esperenza Spaulding excels on intimate bass solos. The catchy title track brings into focus the young pianist James Weidman and his piano licks here are reminiscent of the early McCoy Tyner sides. Two ballads are featured including a tribute to Joe’s wife on ‘Song for Judi’, but it is the improvisational character of pieces like ‘Us Five’ and ‘Drum Song’ where the band are able individually and collectively to stretch out. For a little variety, Lovano devotes one tune ‘Dibango’ to the legendary Camerounian saxophonist and this is played in a funk groove. Overall a well rounded album and one the proves beyond doubt that Joe Lovano is one of the premier saxophonists of his generation, and one of the few remaining with a firm grounding in the experiences of the fifties and sixties masters. Tim Stenhouse

This all star album recorded at a variety of live venues in Europe is a veritable feast of jazz fusion and in many respects a reunion of former Miles Davis alumni. Alongside the two headliners, saxophonist Kenny Garrett is a group member as well as a guest appearance from Herbie Hancock. Completing the band are bassist Christian McBride and drummer Vinnie Colanta. Compositions are roughly even divided between Corea and McLoughlin, but it is actually the other tracks that catch one’s eyes and ears. The piece de resistance of proceedings is a delicious lengthy reworking of part two of ‘In a Silent Way’, with Hancock exchanging keyboard licks with Corea. Even more surprising is a the Jackie McLean hard bop classic, ‘Dr. Jackle’, which finds the group in acoustic mode and McBride undertaking a sensitive solo. Perhaps some of the tracks are a little over long, especially the twenty-seven minute plus ‘Hymn to Andromeda’. However, this would be to underestimate the virtuosity of the musicianship on offer. Nonetheless, it would be nice to hear Corea and McLoughlin in a more intimate and acoustic setting together. Tim Stenhouse

Afro-Beat legend and former Fela Kuti drummer Tony Allen has in recent years been a stalwart of the live circuit, but has returned with a stunner of an album and one that is probably his finest piece of work in at least twenty-five years. Allen has enlisted the support of both French-based musicians on the brass section and Nigerian ones for the rhythm section and chorus. What impresses on this recording is that Allen has not simply re-emphasized the Afro-Beat legacy, but has subtly updated the sound to fit twenty-first century requirements. Recorded in Lagos with overdubs in Paris, ‘Secret Agent’ is globalisation in practice in the best sense of the word. Dancefloor action will be guaranteed on the killer ‘Elewon Po’ that closes the album. With a deceptively laid-back highlife feel, the lovely fender rhodes playing weaves into the incessant guitar riffs to great effect. Unquestionably an album highlight. Almost as appealing is ‘Switha’ with female chorus vocals that sound as they have been inspired by Nu soul. The longest song of all, weighing in at almost eight minutes, is the infectous ‘Celebrate’ where the stabbing brass section kicks in hard. In general the album offers a variety of rhythms that always allow plenty of space for improvisation, but are never over long. Modern Afro-Beat is in a very healthy state if this recording is anything to go by. As ever superb graphics transport one immediately to 1970s Nigeria and detailed and incisive inner sleeve notes are provided by musicologist Chris May.  Tim Stenhouse

Legendary drummer Tony Allen oozes Afrobeat he was a mainstay of Fela Kuti’s Africa ’70 and here he returns to his Afrobeat roots after his more recent involvement with The Good, The Bad & The Queen’ .  Produced by Tony Allen and using his tight funky band this is driving afrobeat with vocals from Nigerian singers Ayo, King Odudo, Switch, Kefee Obareki, Wura Samba and Allen himself on the title track and ‘Elewon Po’. Brilliant.  Graham Radley

Chicago-born and based leader and drummer Ted Sirota has quietly established a reputation over three albums as a jazz musician with an open-minded approach. Stylistically this fourth album is situated in the post-bop genre with elements of free and a sensitivity to world roots music. Not surprisingly when one’s influences range from Ornette Coleman, John Coltrane and Monk to Fela Kuti and Bob Marley, the results are likely to be eclectic. So it proves on this entertaining outing that is a tad more restrained than on previous attempts. An immediate winner is the Caetano Veloso composition, ‘13 de Mayo’, the title referring to the date on which slavery ended in Brazil, and one that is regularly celebrated. Here the Latin rim drummming of Sirota perfectly compliments the rhythm guitar, which gives this number a distinctly South African township jazz feel. In contrast Sirota reverts to the wilder side of the band’s repertoire with a cover of the Clash’s ‘Clampdown’, the guitarist here obviously influenced by John Scofield, and Mingus’ seldom covered ‘Free Cell Block F, ‘Tis Nazi USA’. Throughout proceedings the melodic alto saxophone playing of Greg Ward impresses. A lesser known Miriam Makeba song,’Polo Mze parts one and two’ is divided into the percussion heavy first part and the funk laden second, characterised by dissonant guitar and fatback drum beat. In general Ted Sirota produces jazz with a social conscience which is a welcome throwback to the nineteen-sixties and adds an indie sensitivity of the punk era. Pursuing the world roots side may well catapult this band into the big-time, provided the self-composed pieces are leaner. Tim Stenhouse

Following up on the critically acclaimed compilations ‘Raw and Psychadelic Afro Sounds’ and the sensational Orchestra Poly-Rythmo de Contonou, comes this latest offering of unbelievably rare sides from the little known country of Benin. Aside from Angelique Kidjo, Benin has seldom been mentioned by even the specialist world roots press, and so a compilation of four seminal artists from the period 1969-81 is an especially welcome addition to the African music discography. This one comes from the top drawer and will be essential listening for roots and rare funk fans alike. Evenly divided between four key musicians, ‘Legends of Benin’ features some truly sublime grooves. El Rego et ses commandos are a legendary band who recorded during the early 1970s and in ‘Vimado Wignan’ and ‘The feeling you got’, two of the most sought after sounds on the planet are finally accessible to all. Gnonnas Pedro championed the modernisation of music in Benin and updated the Agbadja rhythm, earning the title of ‘King of Agbadja’. In this vein comes the 1973 song ‘La musica en vente’ as well as the funk-flavoured ‘Okpo videa bassouo’.

Antoine Dougbe created a style known as Afro Cavacha which basically fused Congolese rumba, Latin and traditional Voudoun rhythms. His own records are highly prized owing to their being released in very limited quantity on his own independent label. From this the enticingly entitled, ‘Le premier ministre du diable’ (’the prime minister’s devil’)impresses in particular. Honore Avolonto was some forty years ago a respected percussionist and arguably the most prolific and successful composer in the country. Among the selections on offer from Honore, the Afro-Beat number ‘Dou dagbe we’ takes pride of place and is a dancefloor gem. Superb cover graphics round off this indispensable slice of African groove that will surely prove to be one of the summer’s most listened to albums.  Tim Stenhouse

Tokyo born pianist Makiko Hirayabashi has undertaken an interesting career path before settling in Denmark and establishing her credentials there. Moving to Hong Kong as a child and enrolling in a British school unquestionably opened her horizons, and a further period of study in composition at the prestigous Berklee school of music as a twenty year old introduced her to jazz composition under Jerry Bergonzi. A surprising move to Denmark resulted in gigs at local cafes performing in a variety of styles. Guesting on numerous Danish jazz artist recordings, Hirabayashi finally debuted in her own right in 2006 with ‘Makiko’. This third album sees her in the intimate surroundings of a piano trio format with master percussionist Marilyn Mazur, who among other a multitude of renowned names, was a member of Miles Davis’ band. The quality and freshness of both the compositions and ensemble playing is exceptional and will surely establish an international reputation for the pianist. Influences discernable include the acoustic Chick Corea (a great favourite with Japanese jazz fans)and Ahmad Jamal in her careful use of space among others. Compositions, all originals, are divided between the pianist (six out of nine) and the rest from Mazur. From its Latin vamp intro, ‘Rain’ builds in intensity and recalls the feel of EST without being in any way derivative. Far more improvisatory in approach is ‘Deep Road’ during which bass and percussion solo to great effect. The balance between collective lyricism and interplay is found on ‘A Major’ on which Hirabayashi is reminiscent of Michel Camilo. Compositional strength shines though on the glorious ‘Remember the sun’ while ‘Shady’ is a beautiful ballad that reveals the sensitive side to the pianist’s playing. Overall there is a great storytelling quality to Makiko Hirabayahi’s craft that marks her out as one of the pianists to follow in the future. Japan has a long tradition of superb jazz pianists dating back from Toshiko Akiyoshi through to the vastly underrated Junko Onishi in the nineteen-nieties, and the recent collaboration of Hiromi with Chick Corea. With’ Hide and Seek’ Makiko Hirabayashi is deserving of a place among these pianists of distinction. One of the year’s revelations.  Tim Stenhouse

Paul Motion’s place is etched in jazz history and will be forever inextricably linked to his tenure in the great piano jazz trio of Bill Evans. In the noughties Motion has led a series of acclaimed line-ups and has focused on reworking the standard repertoire with an ongoing Broadway project. This latest fifth volume sees him front a relatively new quintet with only long-time collaborator and pianist Masabumi Kikochi as an ever present. The music is post-bop in feel hinting in parts at Mingus circa 1959-63. By far the most accessible number is ‘I see your face before me’ which features a piano solo intro from Kikuchi, taking a leaf out of the Evans school of refined playing, with Motion in turn providing sensitive accompaniment. In contrast ‘Just a gigolo’ is a much freer number. Throughout tenorists, Michael Attias and Loren Stillman, alternate between baritone and tenor with the former instrument, surprisingly perhaps, recalling the warmth of Ben Webster. Most accomplished of all is a gorgeous rendition of ‘Something I dreamed last night’ with a soulful baritone solo and Kikuchi and Motion both creating a mellow mood. While not yet up to the standard of the acclaimed ‘Time and Time’ album with Bil Frisell and Joe Lovano, if this band sticks together, even more accomplished recordings will surely follow. Tim Stenhouse

The sadly departed multi-reed player David ‘Fathead’ Newman recently succumbed to a long-term illness. Fathead, as he was affectionately known, was an especially sought after sideman who was best known for his lengthy tenure as part of the Ray Charles orchestra during the late nineteen-fifties and nineteen-sixties, but equally cut a number of diverse albums for the Atlantic label. However, far from being a mere epitaph to a glittering career, this last recording catches the saxophonist/flautist at his most soulful with an excellent line up of the cream of New York musicians and recorded at the prestigous Rudy Van Gelder studio. It was always a difficult task to place Fathead into a convenient category for he was a highly versatile musician who could play blues, bop, Latin and even freer forms when required. This diversity in approach is reflected in the compositions on offer. A mid-pace version of the bossa classic ‘Manha de Carnaval’ features Yoron Israel providing a Latin-tinged feel on drums and vibist Steve Nelson reinforcing the percussive ambiance. in fact the piece merits comparison with the similar line up from tenorist Dexter Gordon on his seminal 1965 Blue Note album ‘Gettin’ Around’. Echoes of both Lester Young and Stanley Turrentine are conjured up on the Milt Jackson composition, ‘SKJ’ while the standard ‘Smile’ (co-composed by Charlie Chaplin!)is a showcase for the lovely guitar playing of Pete Bernstein. Newman is in fine form on the Gershwin tune, ‘Someone to watch over me’ and on the bluesy ‘Chelsea Bridge’. Perhaps the best, though, is saved for last. Jazz and the flute have sometimes been uneasy bedfellows, but Eric Dolphy and Roand Kirk firmly placed the instrumentation in the jazz tradition, and both Newman and Herbie Mann did a great deal to popularise the flute in a jazz setting. On the delicious ‘The Blessing’ Fathead delivers a terrific performance, as good as any from his sixties period. A fine way to bow out, then, and an album that will make for extremely enjoyable listening during the summer months and beyond. Tim Stenhouse

Formerly a Cheb or ‘young man’, Khaled has long been a full matured singer and in recent times has been eager to explore different facets to his repertoire above and beyond updating the rai beat which first gained him notoriety. On this latest recording, aptly titled, he has liberated himself from musical shackles to explore the roots of Arabic music. In so doing he has temporarily at least banished the sound of synthesizers and an altogether rootsier feel is omnipresent. In particular Khaled has sought to internalise the Gnawa music prominent in Morocco and parts of Algeria, Diwan music as well as adding the ubiquitous Egyptian strings that are an integral feature of classical and light classical music in the latter nation. As with Egyptian classical, Khaled has opted for instrumental intros to the main part of the song and this merely enhances the feel of authenticity. Key tracks include ‘Raikoum’, which is an obviuos candidate for single, ‘Yamina’ and the title track, but the album in general impresses as a cohesive whole. Produced by ace world fusion man Martin Meissonnier and recorded in Paris with strings added in Cairo, this is one of Khaled’s freshest recordings in a while and one that may prove to provide new impetus to what is already a glittering career.  Tim Stenhouse

Now going by first name only, such is his notoriety, Caetano Veloso returns reinvigorated and refreshed with an album that harks back to the 1980s. Gone are the strings and layered production of his 1990s recordings and in comes a pared down, altogether funkier feel courtesy of producers Pedro Sa and Caetano’s son Moreno Veloso. This lighter and brighter indie rock sound is typified by the album’s immediate winner and surefire dancefloor hit (especially if elongated as a re-mix)in ‘A cor amarela’ which could prove to be a key soundtrack to the summer. Almost as good is the mid-tempo ‘Sem cais’ with delicate vocals from Caetano and a simple but devastatingly catchy guitar riff. A major surprise is in store on the radical reworking of the samba classic ‘Incompatibilidade de genios’ which Joao Bosco made a hit out of during the mid-1970s. Here it is transformed into a languid indie folk ballad which only an artist with the imagination of Caetano could have conceived and realised. Pure genius. The social rap on ‘A base de Guanatanamo’ recalls the collaboration with Gilberto Gil on ‘Haiti’ from the early 1990s. Samba-flavoured percussion simmers on ‘Ingenuidade’ while ‘Por quem’ is a beautiful ballad. Arguably Caetano’s best album in over a decade and sure to win over a younger audience as well as the faithful. Tim Stenhouse

This seminal rare groove funk album from 1973 has long been a collectors dream and with tasty arrangements and production courtesy of one Harvey Fuqua, the tone is set for some classic rhythms on arguably the finest of the five albums the band cut in a prolific five year period. With hindsight one can view ‘Analysis’ as symbolising a seismic shift in black music from dance-oriented funk to what would come to be termed disco. The album is a very diverse outing that takes in a multitude of influences from jazz and blues, Latin, but also interestingly pop and rock to a lesser extent. Minor pop chart had already been secured by the band with the single ‘K-Jee’ and they were obviously not averse to attracting a wider audience as long as they did not compromise their craft. This was clearly not the case on ‘Analysis’ and it is rather their open-minded approach to music that shines through on the recording. Jazzy guitar riffs a la Wes Montgomery are in evidence on the classy ‘Pee Foul’, this writer’s favourite composition, and also featuring nice Afro-funk drums and percussive accompaniment. Further jazz influences are evident on ‘Happy hooker’ where the keyboard influences of Donald Fagan and Jimmy Smith meet head on with handclaps added for good measure. Funk with a distinct Parliament stamp is found on ‘Anything goes’ with vocals while ‘Cowboy’ takes a leaf out of Johnny Cash’s Mariachi trumpet riffs from ‘Ring of Fire’. Latin percussion riffs add depth to proceedings as on a lovely reworking of the then recently recorded instrumental ‘Valdez in the country’ by Donny Hathaway and the lengthiest cut, ‘Drumology’ is a funk equivalent to Tito Puente’s ‘Top Percussion’ project with beefed up drum action. A heavy jam session is the order of the day on ‘Damn’ which precedes the jazz-funk era by a few years while ‘Craaaashing’ could be straight off a blaxploitation movie soundtrack. Nite-Liters were a Kentucky-based band that during the nineteen-sixties underwent numerous changes in personnel, but continued to make the diversity of their line up and output a virtue. Male, female and instrumentalists all made up the constituent parts. Definitely one for the groove-laden listener.  Tim Stenhouse

Singer Queen Ifrica is an interesting artist at several levels. Most obviously, she is a woman singer who performs in the roots vernacular and that is a fairly rare commodity and she does so singing in the sing-jay style reminiscent of Eek-A-Mouse. Secondly, the singer appeals to reggae fans across sub-genres and is equally at ease in dancehall and lovers as in roots. Thirdly, Queen Ifrica is the daughter of ska legend Derrick Morgan (though only knew him from her twneties onwards) and as such has an impeccable musical pedigree. The album is a varied and thought provoking set. Immediately attracting attention is ‘Don’t sign’, a reworking of the Studio One riddim (best known as ‘Movie Star’)produced by Donovan Germain. Ifrica’s vocal delivery reveals a mature voice and one that is capable of adapting to both traditional and modern styles. The first single in the market place, ‘Lioness on the rise’ is included and is a lilting, surefire hit, once again produced by Germain for whom Queen Ifrica recorded in the early 1990s. For roots fans there is much to commend and the percussive opener ‘T.T.P.N.C.’ is in fact a tribute to the Nyabinghi centre in Montego Bay. This is Africa’s way of expressing gratitude to the Rastafari community where she was raised. Pared down production and nyabinghi drumming feature on ‘Calling Africa’ which is a message-laden song with a lovely gospel chorus. Another classic riddim, namely the Satta Massagana, is revisited on ‘Coconut Shell’ with a thoroughly modern accompaniment. In a more romantic vein the lovers rock inspired song ‘In my dreams’ is a catchy take on the sub-genre. All in all a fine debut for VP and one that gives Queen Ifrica plenty of scope to explore the evolution of Jamaican popular music in its myriad forms.  Tim Stenhouse

Italian reggae singer Alborosie was already a well known singer in his native land having created group Reggae National Ticket fifteen years ago and sold over 200,00 copies of the group’s albums. However, he was not satisfied with this and instead decided to quit the band and instead move permanently to Jamaica. It was there that after intially struggling to continue his career that Alborosie became house engineer in Port Antonio, Portland and, after remixing music for the likes of Manu Chao and UB 40, finally started to refocus on his own singing career. Two 45s surfaced in 2008 and after touring in Europe an additional two singles were released. Fast forward to 2009 and this new album which pays homage to the golden roots era of the 1970s and the individual artists that inspired him such as Bob Marley and Burning Spear, and groups like Black Uhuru and Steel Pulse. In essence Alborosie’s style updates the modern roots and dancehall sound. His gruff vocal delivery is distinctive (and different from say Prince Far I) and occasionally he employs the sing-jay style as on ‘Real story’. Reworking the Horace Andy classic ‘Money’ with Andy sampled in the chorus, Alborosie lays down his own vocals to good effect here and in fact a Horace Andy soundalike voice features in the background to the thoroughly modern roots song ‘No cocaine’. In a more melodic vein, ‘One sound’ is one of the album’s highlights with Gramps of Morgan Heritage guesting on lead vocals while a rockers riddim predominates on ‘America’ which is another diatribe against the perceived vices of that nation, but different from Tikhen Jah Fakoly’s epochal ‘Tonton d’Amerique’. Ska flavours are present on the first single to be lifted, ‘Mama she don’t like you’, featuring female vocalist Ieye, and which with radio play could cross over. The riff-laden riddim of ‘I Rusalem’ and virtuous call on ‘Good woman’ attest to his Rastafarian beliefs.
While this is unquestionably a roots recording, it is one that has plenty of appeal to a wider audience outside strictly reggae circles and there is not the slightest trace of an Italian accent in his vocals which just indicates how well integrated Alborosie has become in Jamaica. A very promising debut for Greensleeves that bodes well for the furute. Tim Stenhouse

The follow up to the critically acclaimed first volume, ‘Viagem 2’ is, if anything, an even tastier selection of classic Brazilian grooves. No Nicola Conte compilation would be complete without some instrumental Braziliance and in this case pianist Tenorio Jr. delivers the goods with the anthemic, ‘Consolacao’ and an instrumental version of ‘Simbinha’. A debuting Jose Roberto Bertrami is featured on the highly percussive ‘Kemal’ and piano trio genius comes in the shape of Tema Tres who take a leaf out of the Milton Banana trio on ‘Yema tres’. Vocalists, however, are are more prominent on volume two, and particularly female singers. Moody bossas such as ‘Janinha Amanha’ typify the sound and Brazilian music aficionados will instantly recognise the song as being one immortalised by Alaide Costa. Big band arrangements compliment the tasty piano licks on the vocal version of ‘Sambinha’ by Vera and in general several of the singers will be unfamiliar and recorded on smaller labels in Brazil, hence their rarity. Vocal harmony groups of the ilk of MPB4 for the men and Quarteto Em Cy for the ladies were all the rage during the classic era and male harmonies soar on ‘Redondo sambao’, which is an uptempo samba with flute accompaniment. A left-field English language song comes near the end of the compilation on Bobby McKay’s ‘Bossa nova’, chronicling the bossa craze and its media impact in the United States. This even extended to performances at the White House for JFK. Musical proceedings end on a calming note with some big band crooning from Dick Farney and his orchestra. One might quibble at the time length under fifty minutes and at the bias towards female vocalists (though this writer would never argue against too many Brazilian women in the world!), but the quality is undeniable and counts above all.  Tim Stenhouse

Carioca (native of Rio) singer Clara Moreno has quietly established a reputation for excellence over six albums and this second for Far Out is by far the most accomplished thus far. It certainly helps that productions chores are taken care of by mother Joyce and arrangements by father, drummer Tutti Moreno. However, Clara Moreno is very much her own singer and is certainly not trading on her mother’s reputation. The song selection is a judicious one that harks back to the classic samba era and follows the recent trend of artists such as Orchestra Imperial and Marisa Monte in updating this timeless sound. Opening proceedings is the big band samba of ‘Deixa a negra gingar’. This was the same song that a young Flora Purim sung to great effect with Duke Pearson for Blue Note and Moreno’s delivery is flawless. Another favourite is ‘Bebete’, originally a mid-nineteen-seventies tune performed by Djavan, but best known in the UK for the mid-nineteen-eighties version by American-based group Tudo Joia. Guesting on piano, legend Joao Donato solos on the ivories on the groove-laden ‘Que besteira’ while a more reflective side to the singer is found on ‘Uala Ualalala’. The jazzy sensibility of ‘Vai deuagarinho’ hints at the early Tania Maria and it is only really on ‘Mestico’ with its guitar riffs and subtle keyboards that one is reminded of her mother Joyce. Seminal 60s vocalist Orlandivo shares singing duties on ‘Temanco do samba’ and the album ends on a high with the flute driven ‘Samba de negro’. A fine, well rounded album that points at a number of musical avenues for Clara Moreno to exploit in what promises to be a lengthy and highly successful career. Tim Stenhouse

Nigeria was very much attuned to the developments in funk and soul in the United States during the 1970s and as a result bands formed in the former who sought to give their own unique take on modern black music. It is in this light that one should view the group put together by Fred Fisher and the four albums condensed onto two CDs here. The multi-talented Fisher was at once a trombonist and vocalist as well as songwriter and composer. He perfected a sound known in Nigeria as Asolo rock. Simply put, this fused Afro-funk and rock with more soulful melodies. Perhaps the nearest equivalent better known to western audiences is Segun Buckner, though Fisher has less of an Afro-funk flavour. Overall the albums have a polished feel to production reflecting the sound that was coming out of America with labels like Solar and Casablanca. Instrumental dancefloor action is the order of the day on ‘No way’ from 1981 while ‘W.T.F.S.’ is more like a Nigerian attempt at early Earth, Wind and Fire or Brass Construction. It is on the second CD that the African content is more in evidence as exemplified by songs such as ‘Kisiana’ with King Sunny Ade style accompaniment and ‘Elimedede’. Gatefold sleeve with authentic cover photos and excellent graphics round off this welcome re-issue. Ten of the songs featured on the CD release are not available on the vinyl one.  Tim Stenhouse

The Funky Lagos saga continues with this re-issue of a 1970 LP that came out in Nigeria and combines highlife and funk. The songs on the original either side segue into one another and this gives the album as whole the feel of a non-stop mix. James Brown influences are all too obvious on covers of ‘Cold Sweat’ and ‘There was a time’, the former featuring an extended saxophone solo. Of the highlife cuts, the highly melodic ‘Okere gwonko’ hints at 1960s Bobby Benson while ‘Soro jeje fum arogbo’ fuses traditional highlife with US funk to good effect even if the female vocals are not the strongest. Clearly modern Nigerian music was in the process of defining itself at this time and consequently songs such as ‘New Nigeria’ and ‘Everybody needs love’ were searching for a happy medium between external influences and updating traditional genres. Funk fans will probably be more satisfied with this album than world roots ones. As ever with Vampi Soul releases, a beautifully illustrated gatefold sleeve with detailed notes inside courtesy of Max Reinhardt.  Tim Stenhouse

The much anticipated follow up to the superb volume one is finally with us.
It was the former that introduced us to the varied sounds of Panamanian music and the original liner notes read like a vinyl collectors dream. Stumbling upon a treasure trove of rare grooves in central America. Volume two takes up the story again and is a cornucopia of musical delights on offer. What is interesting is that the major Latin labels of new York used Panama as a testing ground for their products’ sounds. This exposed Panamanians to a whole range of top quality music from the Tico and Fania labels to name but a few. On this compilation the styles vary from heavy Latin descargas to tropical cumbia and funk-laden calypso covering the decade 1967-1977. The opener ‘La Murga’ by Papi Brandao y su conjunto sets the tone with a song composed and made famous by Puerto Rican tromobonist/vocalist/producer Wille Colon and inpsired by an indigenous rhythm of Panama referred to in the title. Another Colon tune, the instrumental ‘Jazzy’ is revisited by Los Papacitos while the hard hitting guaguanco ‘La confianza’ by Menique el Panameno con Bush y los Magnificos shifts from Afro-Cuban intro to montuno section effortlessly. Camilo Azuquita has made a career in France since the late 1970s, but here we find him on a classic salsa dura song on ‘Borombon’. 

For left-field music fans, ‘Juck Juck Pt. 1’ by Sir Jablonsky fits the bill perfectly. While the bass and drums are influenced by funk, the guitar riffs are roots reggae and the horns and vocals classic calypso, or at least the Panamanian take on the genre. This musical metissage should not come as a great surprise when one looks at a map of the region and realises the proximity of Trinidad and the facility with which the casual radio listener can tune in to a multitude of different sounds. Among other numbers, the percussive instrumental take on ‘Ain’t no sunshine’ by the Soul Fanatics impresses as does the Latin rock of the Santana-influenced ‘Descarga superior’ complete with saxophone solo by Los Superiores. Factor in the usual high standard of sleeve notes and graphics with original single/album labels and covers and you have one of the year’s indispensable compilations.  Tim Stenhouse

This Rio-based group can be best described as the left-field side of samba, but one that is highly melodic nonetheless. Pedro Luis et A Parade successfully fuse traditional samba with other influences, notably funk and rock rhythms, and in this respect have taken a leaf out of the pioneering sounds of Chico Science and Nacao Zumbi from Recife in north-east Brazil. From the opener ‘Santo samba’ the alternative take on samba becomes apparent with dissonant guitar in the background. The title track is a haunting song with echoey dub guitar and drums whereas ‘Repudio’ is a laid-back samba with an indie-rock sensiblity. Large-scale escola de samba percussion combine with synths on the lengthily titled ‘Ela tem a beleza que eu nunca sonhei’ while the pared-down percussive breakdown of ‘Mandingo’ reveals a funkier side to the group’s repertoire. It is the slide guitar that surfaces on the old school samba of ‘4 horizontes’ which features the indispensable sound of the cavaquinho (a small ukelele-sounding string instument) and the cuica drum. Excellent art graphics from the interestingly named Billy Bacon (another intriguing Brazilian fusion, perhaps?)round off a highly entertaining and different updated take on a music form that is now inextricably linked to the Brazilian national character.  Tim Stenhouse

Part recorded in Rio de Janeiro and part in California, this Tommy Lipuma produced album is Diana Krall’s take on the bossa nova. It has to be stated that this is more a revisiting of the American songbook with a few Brazilian touches than a bona fide attempt at capturing the feel of bossa nova. The collaboration of Antonio Carlos Jobim and Frank Sinatra was most successful in conveying the cool, swinging new sound at the time and more recently pianist/vocalist Eliane Elias has covered a wider range of styles. Where Krall falls down is in the predominance of rather uninspiring somber and understated numbers when some uplifiting sambas might have given the album a more balanced feel. Only one song is in Portugese, the Jobim song, Este seu olhar’, one of three Jobim compositions. The symphonic arrangements courtesy of Claus Ogerman can overpower Krall’s breathy vocals as on ‘Quiet nights’. In fact Krall shines best of all on the blues-inflected ‘How can you mend a broken heart?’ and an entire album of songs in this vein might be a better option for the future. It is only on ‘The boy from Ipanema’ that Krall begins to stretch out on the piano. Back to the drawing board for any future take on Brazilian music and a far greater input is required from Brazilian musicians.  Tim Stenhouse

An interesting musical concept that is as much a visual as a audio experience and one where the message behind probably far outweighs the muscial content itself. This is a concept album in the truest sense of the word and the brainchild of music engineer Mark Johnson who has spent ten years putting this project together. Was it worth all the effort? The answer is a qualified yes, but with some reservations. From a technical perspective the result is a feat of no little skill and the ethos behind the project is certainly a laudible one. The power of music to enact change and reach people directly is a key message and one that few would disagree with in these times of major political and technological change.
However, covering well known songs with a variety of largely unknown acts (with notable exceptions such as Bono and Keb Mo)was always likely to be a risky enterprise and one wonders how far this project will reach beyond Europe and the United States, preaching to a largely already committed public. The album works best on the DVD where a multitude of world roots instruments are deployed to accompany vocals songs such as Bob Marley’s ‘War’ and ‘One Love’. Community youth choirs from a far afield as Omagh in Northern Ireland and the Group Afro Fiesta from South Africa are seamlessly woven together along with individual instrumentalists from the Indian sub-continent and even a band from New Orleans. The problem lies in that the overall musical accomplishment is a fairly mundane version of songs that have been covered on numerous occasions previously and far more convincingly by individual artists. Consequently this writer scores two points for the musical content and four for the visual impact and logic behind the project. Perhaps for the future a more challenging selection of songs would enhance matters. Nonetheless this album may inspire other artists and is at least to be commended for introducing a wider public to relatively unrecognised musicians.  Tim Stenhouse

The third instalment of the ongoing history of dub, this box set contains facsimile sleeves of four of the classic albums recorded by the Revolutionaries during the late 1970s at Channel One with mixing duties divided between King Tubby and the then Prince Jammy. As with the previous two volumes, each set has notes that continue on from the preceding one as well as specific notes on the albums within.

The art of dub and its evolution has undergone a major revision in recent years with books on the subject and numerous DVds of varying quality. However, this set is by far the most comprehensive ever issued of the crack session group that are the Revolutionaries. Not only does it group together key albums from the classic roots era, but the whole package is beautifully illustrated and backed up by extensive and highly enlghtening sleeve notes. Reggae music finally has the respect it so richly deserves.

A key figure in the albums herein is Linval Thompson who produces three of the four (Jah Lloyd being the producer on ‘Goldmine Dub’). These albums served as a transition from the roots era into early dancehall and were issued on the Thompson Sound label which Linval set up in 1976. All impress in equal measure such is the mastercraft of the musicians on offer including of course Sly and Robbie, but also Earl ‘Chinna’ Smith, Tommy McCook and percussionists ‘Scully’ Sims and ‘Sticky’ Thompson among a whole host of reggae greats. The overall souns here is a highly melodic one wth uplifting bouncy riddims and the occasional special effect thrwon in for good measure. Dub versions include songs by the major vocalists of the day such as Horace Andy, Dennis Brown, Gregory Isaacs and even the rock steady sounds of the Paragons reworked for the roots period. At various times some of the albums have been issued on vinyl in the UK, notably ‘Goldmine Dub’(via Greensleeves) and ‘Outlaw Dub’ (via Trojan). However, ‘Love Dub’ and ‘Green Bay Dub’ have at best only been out briefly on very limited vinyl editions and as a whole this constitues a treasure trove of sublime dub recordings. This makes essential listening for long-time dub heads and general music fans alike, the latter finding an ideal companion with which to enter into the field of dub music.  Tim Stenhouse