Global Grooves — All Formats  

Amazing work from a legendary Peruvian guitarist – an electric player who works here with a really wonderful sense of groove – and often an echoey tone that's completely sublime! Most numbers have this bouncy, tropical sort of vibe – but the guitar really gives them all an edge, and seems to underscore the strong percussion work that really gets things moving – a balance that's a bit like champeta at times, but maybe a bit more unique! Teo's instrument is often recorded with a style that's more 60s surf than you'd guess from the date of the sessions – and that echo trips things out nicely, and almost brings a spacey edge to some of the best numbers on the set. The package features a bonus insert with notes and images – and titles feature Teo in a number of groups – "El Sha La La" by Cielo Gris, "El Rey Loco" by Los Blue Kings De Nana, "Mi Orgullo" by Los Sanders De Nana, "El Borrachito Peruano" by Conjunto Luz Roja, "Los Hombres Tambien Lloran" by Los Jharis De Nana, and "La Tanga Carioca" by Costa Azul.

A really unique little record – and one with a trans-Atlantic heritage too! The sounds here are all from Martinique, but are heavy in African roots as well – and offer up a criss-crossing of rhythmic and tropical modes that's mighty unique! The grooves have some vocals, but are often mostly focused on the instrumental interplay – some great percussion that moves at a very skittish pace – topped with these guitar lines that are both light and jagged, and which have a pulsing rhythmic intensity that's pretty darn hypnotic! Horns are nice, and get some great solos too – and there's a quality the record that's both airy and deep at the same time. Titles include "Chimen Ta La", "Bochet", "Ansinel", "Flabo Pep La", "Omaj Pou Danyel", and "Endepandans".

An early recording by the great Malian singer Na Hawa Doumbia – made in Abidjan, Ivory Coast in 1982 – which finds her backed by guitar, keyboards and raw drums that starkly frame her voice in a great way! It's that voice that really carries this recording – it's piercing, emotional and beautiful – and the raw accompaniment serves her really well. The set has 4 long, hypnotic songs: titles include "Ko Ro Dia (A Mamaye Drame L'Inoubliable)", "Dan Te Dinye La", "Sanaya (A Sidi Konate Pour Tourjours)" and "Kungo Sogoni".

An early recording by Malian singer Na Hawa Doumbia – made in Abidjan, Ivory Coast in 1982 – which finds her backed by guitar, keyboards and raw drums that starkly frame her voice in a great way! It's that voice that really carries this recording – it's piercing, emotional and beautiful – and the raw accompaniment serves her really well. The set has 4 long, hypnotic songs: titles include "Ko Ro Dia (A Mamaye Drame L'Inoubliable)", "Dan Te Dinye La", "Sanaya (A Sidi Konate Pour Tourjours)" and "Kungo Sogoni".

Incredible work from Sory Kandia Kouyate – not just an amazing singer, but also a powerful political force in independent Guinea as well! This 2CD collection brings together music from Sory's best period – very heavy on early 70s numbers that feature enigmatic instrumentation on kora, tenor sax, balafon, and percussion – with accompaniment by either the Trio De Musique, Ensemble National Djoiba, or Keltgui Et Ses Tambourinis – all groups who create these amazingly-woven backdrops that are perfect for Koyate's long-spun style of storytelling singing! The whole thing is captivating right from the start – with that incredible freshness we first felt when hearing the Ethiopiques series – a great reminder that there's still a hell of a lot of African music for our ears to discover. Wonderfully packaged by Sterns, with notes in French and English –a nd tracks that include "Kedo", "Douga", "Toubaka", "Siiba", "Nina", "Souaressi", "Minawa", "Djoliba", "Fouaba", "Tara", and "N'Na".

A sweet mix of Spanish and Cuban styles – as Pedrito Martinez takes on some older flamenco tunes, but in ways that have a really old school Havana sort of sound! Pedrito's vocals are served up with plenty of soul – and backed with tight guitar from Nino Josele, whose dexterity on the strings is amazing, yet always respects the place of the singer too. The legendary Alfredo De La Fe adds in plenty of violin lines to the mix – and the core sound of the record is heavy on percussion and the sorts of handclaps that really move things along in an organic, human sort of way. Titles include "Solo Vivo Pa Quererte", "Volando Voy", "Homenaje A Camaron", "Gitana Te Quiero", "No Naqueres Na De Mi", and "Yo Vivo Enamorao".

Wild grooves from Abelardo Carbano – music recorded in the early 80s, but with a spirit that's much more ancient! "Muevela" has this great skittish groove that bounces up and down – which is then topped with this raspy vocal that's more spoken than shouted, and encouraged by this cute chorus bit – all tied together with some mighty cool guitar! "La Negra" is a bit more straightforward, but still pretty darn great – a cool Colombian rhythm, and lots of hip twangy guitar echoing forth over the grooves!

A Colombian album, but one with a heavy dose of African influence too – a sweet blend of modes that virtually defies categorization, and which makes the record bristle with energy all the way through! There's definitely a trace of more familiar Latin rhythms here – bits of cumbia, and some slight Caribbean elements – but the whole thing's pretty tripped-out too – with some of the Afro-psych production styles that were used more heavily on the other side of the Atlantic in the decade before – a far cry from the cleaner sounds that were beginning to emerge in the more mainstream Colombian scene in the 80s. Percussion is tight, and often very uptempo – and instrumentation mixes offbeat keyboard lines with lean guitar bits – but sometimes drops out so there's just percussion behind the vocals. Titles include "Calambre", "Lady Mankenwa", "El Platano", "Tamba", "Viva Africa", and "Amapondo".

A really surprising turn for reedman Manu Dibango – a shift away from his familiar Afro Funk mode, into the realm of trad jazz for this loving tribute to American saxophonist Sidney Bechet! Given that both Bechet and Dibango reached some of their heights on the Parisian scene, the tribute really makes some great sense at the core – and it's wonderful to hear Manu's sharp-edged alto sax in such a setting – as it creates a very different feel than some of the sweeter tones of Bechet, in styles that still echo some of Manu's earlier styles too. Instrumentation includes vibes, banjo, and piano – and titles include "In A Georgia Cabin", "Dans Les Rues D'Antibes", "Petite Fleur", "Strutting With Some Barbecue", "Careless Love", "Royal Garden Blues", and "Cousin Bechet Blues". Also comes with a bonus DVD of performance too!

A cool early 70s psych folk set from Peruvian combo El Polen – the group's second album – and it's a great one! For a group that's utilizing acoustic instrumentation so heavily, this is really atmospheric stuff – lots of buzzing guitars, earthy percussion, violin, harp and flute. There's a bit of a nature vibe at play, too – and it's really evocative stuff! There's some strong group vocals, but also some long instrumental passages. This CD edition from Lion and Repsychled includes a bonus track with vocals by Susana Baca – "Ahijada De la Luna" – plus "Concordancia", "Mi Cueva", "A Las Orillas Del Vilcanota", "El Hijo Del Sol", "La Puna" and a live version of "Valicha".

Rare pop psych from the late 60s & early 70s French scene – groovy singles from Le Coeur, Les Hamsters, Les Chimeriennes, Dan Le Bouffon, Christopher Laird, Yar & Yana and others – really cool stuff, most of which we've never heard before! Lion's Groove Club series goes on to focus on Cambodian grooves for Vols 2 & 3, but the belated Vol 1 belongs to the Parisian pop psych scene. Chiming little guitar tunes with sweet harmony vocals, even more harmony drenched tunes inspired by west coast US acts like The Mamas & Papas, medieval folk pop styled tunes, mod & funk groovers and more – lots of period influences from the US and Europe, but ultimately it's profoundly, and charmingly French sounding! Includes "Bye, Bye City" by Le Coeur, "Flower Power" and "Georgie Girl" by Les Hamsters, "Dee Duck" by Maraton, "Une Petite Fille" by L'Empreinte, "Bye, Bye Brighton" by Epta, "Nevada" by Les Rotomagus, "Crazy Mister Badge" by Mister Badge, "Monsieur Cyber" by Les Chimeriennes and more.

A rich look at the world of Vampi Soul – especially the expanded range of sounds the label's been handling in recent years! At their start, Vampi took the "Soul" in their name quite seriously – and mostly focused on funk and soul. But lately, they've really been opening things up – moving into a wide range of great grooves – mod 60s material, Afrobeat, global styles, psychedelia, and lots lots more – almost all of it still pretty darn upbeat and groovy – with great links to the earlier modes of the label. The set's a great way to sample the rich array of styles without buying individual titles on their own – as the collection features 20 titles that include "Trip" by Emma De Angelis, "Rocky Mountain Roundabout" by The Mohawks, "Dye Dye" by Segun Bucknor, "Dongoh" by Los Sidearals, "Bat Macumba" by Garotas Suecas, "El Jamaiquino" by El Gran Fellove, "Cumbia Pop" by Los Beltons, "La Bocachico" by Frente Cumbiero, and "Muntie" by The Ramblers International.

A group with a great blend of old and new modes – a mix of rootsy sounds from their native Mali, and some more focused guitar lines that really help revolutionize their music! The notes bill Alkibar Gignor as a "garage rock band" – and while we think that's a bit of a stretch, as there's not that much rock in their music, there is a nicely gritty style of production that really helps them keep their edge – a slightly muddy mode that's a great contrast from some of the "too clean" Mali recordings out there in recent years! The vocals get distorted at times, and the guitar workouts almost verge on fuzz – even though they spin out in clear lines that are much more Malian than Anglo – and the drums have a bumping quality under the vocal interplay, bringing an unexpected vibe to the record. Titles include "Adounia", "Lahidou", "Aniya", "Adibara", "Tamala", and "Dakou".

Great rolling grooves from the mid 70s – a Haitian combo who work here with plenty of jazzy touches! Guitar is often layered strongly in the rhythms – in ways that link the music strongly to African highlife of the same period – with lots of lively interplay alongside the group's tight percussion, organ lines, and work on sax and flute. Some cuts have vocals, but the instrumental interplay is what really drives the record – and tracks include "La Fraicheur", "Reve Douce", "Souffrance", "Naked", "Relem Ta Rele", and "Good Vibrations".

One of our favorite entries so far in the Zanzibara series – a great set of grooves from the late 70s and early 80s – warmly laidback material, with a bubbling undercurrent of funk, and a sound that's somewhat different from other African material we've heard from the time! The rhythms often dip and turn slowly – almost with a watery feel, as the basslines groove up and down in midtempo waves of sound – often woven together with some tighter guitar parts, which also dance along nicely – topped by vocals that have a sweet undercurrent of sadness, too. The package is a great way to sample some of these lesser-heard gems – and it's put together with the same level of care you'd expect from Buda's Ethiopiques series. Titles include "Uzuri Wa Asili", "Baba Anna", "Rufani Ya Kifo", and "Mwana Acha Ujinga" by Dar International Orchestre; "Talaka Ya Hasira", "Nawashukuru Wazazi Wangu", "Taxi Driver", and "Kassim Amefilisika" by Mlimani Park Orchestra; and "Nilitaka Iwe Siri" by Vijana Dance Band.

Pretty amazing work from Nigeria! Segun Bucknor was an excellent vocalist with a style that was raspy and spiritual – much more other-worldly than a lot of his Afro Funk contemporaries, especially on the album's longer tracks, which have a spaced out groove that's really incredible. The groove here has bits of Fela-like jamming – but also more of a spacious jazzy groove, mixed with 70s rhythmic influences, and just the right touch of funk from time to time. Most of Segun's work has never been properly reissued before – and, as with all the Strut releases, this package is an over-stuffed batch of gems that will finally give him his due! The set includes notes on the music and Segun's story – and a wealth of great tracks that include "Sorrow Sorrow Sorrow", "Dye Dye", "Adanri Sogbasogba", "Son Of January 15th", "La La La (hard version)", "Smoke", "Who Say I Tire", and "You Killing Me".

Monumental Afro Soul from El Rego Et Ses Commandos – El Rego's best recordings from the late 60s to early 70s – a beautifully done compilation put together by Daptone and Frank Gossner, the deep digging West African music expert behind Voodoo Funk! Theophile Do-Rego is a legend in his native Benin, essentially credited as the godfather of Benin funk – but to date, he hasn't been celebrated around the world nearly as famously as the superstars of African music hailing from Nigeria and Ghana. That's something that can change really quickly if enough people pick up this truly great compilation of pioneering recordings. Singer El Rego and his excellent, diversely capable band – sax and flute by Baboni Oudou, sax by Michel Diogo, guitar by Oscar De Souza, trumpet by Emmanuel Ganssounou, guitar by Roger Coffi, tumba by Marcelin Kpohonon, additional vocals by Christian Agueh, and bass by band leader Paul Hounnou – take a tighter approach to funky soul. Just a couple tracks on this set roll past the 4 minute mark – which gives it a tighter soul sound, along with some Benin blues and some riveting JB-indebted vocal affections. We owe Voodoo Funk and Daptone big for putting this together! Includes "Feeling You Got", "Zon Dede", "E Nan Mian Duku", "Dkobime", "Dis-Moi Oui", "Djobime", "Hessa" (the centerpiece of the album, 3 minutes of Afro Soul perfection. . .the whole set is great, but this track is unforgettable), "Kpon Fi La", "Do Do Baya", "Vive Le Renouveau", "Achuta", "Cholera" and "Ke Amon-Gbetchea".

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea".

A wicked dip into Colombian music – focused around the work of two true giants of the scene! CD1 features 21 massive tracks from Fruko – one of the hardest-hitting artists working in Colombia in the 70s – often in a sound that starts out in New York salsa, but takes all these weird little twists and turns as it adapts to the local rhythms! Joe Arroyo's tracks start where Fruko's leave off – pushing the groove even more with a bolder, more confident Colombian style – still filled with some great jazzy riffs that you'd hear in salsa, but moving into some especially nice tropical touches too! The production on the material for both artists is great – often filled with some sweet studio tricks – and the booklet features notes on the artists, plus images of lots of vintage album covers too. 38 tracks in all – with tracks billed to each artist separately, or The Latin Brothers, La Verdad, or Afrosound – on titles that include "El Preso", "El Violento", "Tu Sufriras", "La Pintosa", "Ocho Dias", "El Esclavo, "Tifit Hayed", "San Juan De Puerto Rico", "Palenque", Pobre Naci, "El Son Del Caballo", "Baila Simon, "Musa Original", "Matigua", "Vuelve", "Son Apretao", and "En Barranquilla Me Quedo.

Do yourself a favor, and buy this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

Do yourself a favor, and splurge on this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

A great criss-crossing of grooves from the early 80s – a set that bubbles with a mixture of Latin rhythms, African inspiration, and some great jazzy Fender Rhodes! Pierre's style almost has a mixed-up, cross-Caribbean sort of vibe – that wonderful mode when things get extrapolated from their roots, and taken into new territory to find their own sort of space! Some of the best numbers here have a jaunty, playful approach to rhythm – one that's kind of pre-world music, with a more earnest sense of exploration. Titles include "Week End", "Pa Oublier Parapluie", "A Bientot", "Reveil Sonne", and "La Tendresse" – and CD features 2 bonus tracks – "Lady Californie" and "Juste Un Moment".

Colombian music, both classic and contemporary – as a group of older all-star players comes into contact with Will "Quantic" Holland! The set's easily one of the most smoking Latin-styled projects we've heard from Quantic so far – recorded in Colombia with work from Fruko, Anibal Velasquez, Alfredito Linares, and Michi Sarmiento – alongside Quantic's Combo Babaro, and the Frente Combeiro group of Mario Galeano! The sound is all classic throughout – no tricks or gimmicks, or modern remix modes at all – just old school instrumentation, filtered through a new school approach to funk – one that's come from years of digging older Colombian numbers, and finding a way to make new music that packs an equal punch. Every bit as smoking as older Central American grooves compiled by Soundway – with tracks that include "Bomba Tropica", "La Tranca", "Cien Anos", "Papi Shingaling", "Mi Negra", "Dos Lucecitas", "Libya", "Punkero Sonidero", "I Ron Man", "Suena", and "Swing De Gillian".

Colombian music, both classic and contemporary – as a group of older all-star players comes into contact with Will "Quantic" Holland! The set's easily one of the most smoking Latin-styled projects we've heard from Quantic so far – recorded in Colombia with work from Fruko, Anibal Velasquez, Alfredito Linares, and Michi Sarmiento – alongside Quantic's Combo Babaro, and the Frente Combeiro group of Mario Galeano! The sound is all classic throughout – no tricks or gimmicks, or modern remix modes at all – just old school instrumentation, filtered through a new school approach to funk – one that's come from years of digging older Colombian numbers, and finding a way to make new music that packs an equal punch. Every bit as smoking as older Central American grooves compiled by Soundway – with tracks that include "Bomba Tropica", "La Tranca", "Cien Anos", "Papi Shingaling", "Mi Negra", "Dos Lucecitas", "Libya", "Punkero Sonidero", "I Ron Man", "Suena", and "Swing De Gillian".

A Spanish group, but one with a sound that's heavy on Afro Funk – served up here in a culturally criss-crossing way that really lives up to the enigmatic title! There's some exotic moments that definitely echo the ancient strains you'd hear in Ethiopian and Egyptian funk – mixed with other elements that show more of a Nigerian influence as well – all filtered together, and served up with some occasional Latin and contemporary touches too! Almost all the instrumentation is acoustic – with lots of percussion and horns – but the group also make great use of riffing guitar and organ too – on cuts that include "Aracnido", "Pajaritos", "La Oportunidad", "Judias Comen Habas", "Rio Niger", and "Que Bonitas Son Las Flores".

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea".

Not what you might expect when shopping for African music – unique electronic sounds from Cameroon musician Francis Bebey – as heavy on keyboards as other 70s work is on guitar! There's still plenty of acoustic elements in the mix though, too – lots of earthy percussion at the bottom, which links some of these tracks to other styles of the time – even though some of the more unusual tunes here have these great electronic sounds that almost feel like they came from the late 70s German underground! The mix of modes is breathtaking – as if Moebius and Roedelius recorded with musicians from Lagos – shaking off the colder sounds of the Conny Plank side of the spectrum, to come up with a warm new style that's really unique! Titles include "La Condition Masculine", "Sahle", "The Coffee Cola Song", "Super Jingle", "Pygmy Love Song", "Agatha", "Catching Up", and "Divorce Pygmee".

A nicely-done overview of the best work of South African trumpeter Hugh Masekela – featuring tracks from his groundbreaking years at the Chisa, Uni, and Blue Thumb labels! The tracks bring together South African rhythms with a buoyant, celebratory approach to soul jazz – cut by Masekela with influences from the burning LA scene of the late 60s, and recorded with a soulful finish that works as well on the set's longer, more complicated tracks, as it does on the shorter groovier tunes! 11 tracks in all, with titles that include "Mace & Grenades", "Ha Lese Le Di Khanna", "Child Of The Earth", "Gold", "Languta", "Stimela", "Been Such A Long Time Gone", and "Bajabula Bonke".

Nice groovy Afro soul, recorded by Letta with some hip arrangements by Hugh Masekela. This record grooves much more nicely than her Capitol sessions, and includes some nice tracks that mix African rhythms with 60's LA pop soul production. Titles include "Qonqoza", "Macongo", "I Need Your Love", "What Shall I Do?", "Use Mncane", and "Melodi".

Amazing sounds from this really unique ensemble – a group with a feel that's much looser than you might expect from the orchestra in their name – and a wonderful blend of electric and acoustic instruments, all with a feel that's as exotic and evocative as some of the best Ethiopian sounds from the same time! The tunes have some really wonderful flute and trumpet lines, which often snake around the vocals by taking a different path themselves – but which are also layered with spare guitar lines that often have a cool watery sort of texture – not nearly as tight as in highlife, and used more to fill in little sonic corners between the rhythms. The approach is hard to describe in words, but is wonderful on record – and especially great when mixed with the soulful lead vocals of the tunes too. The package features a booklet of notes in English – and titles include "Souga Sosso", "Chabab El Bilad", "Mauritanie Mon Pays", "Senam Mosso", "Kamlat", and "La Femme Mauritanienne".