A second great set from Nomade Orchestra – a Brazilian group who bring a trans-global approach to jazz-based instrumentation – with a resulting sound that's unlike anyone else we can think of! These guys aren't in the usual Brazilian groove, and they're also not like some of the Afro Funk combos that have sprung up on that scene – and instead they seem to take the nomad in their name seriously, and wander the globe searching for sounds and styles to fit into their music! Instrumentation is especially strong on saxes – alto, tenor, and soprano – which really emphasize some of the more dramatic currents in the music – and the group's also heavy on percussion, with some slight electric touches on keyboards and guitar. Titles include "Jardins De Zaira", "Felag Mengu", "Estrada Para Camomla", "Olho Do Tempo", "Terra Fertil", "Rinoceronte Blues", and "Vale Da Boca Seca". CD

One of the most important albums to present the sounds of Bali to the world at large – not just because the set perfectly captures the sharper, more bracing sound of Balinese gamelan, but also because it includes an extended recording of the famous "monkey chant"! The first half of the record features two long gamelan passages – "Golden Rain" and "Bumblebee" – both somewhat frenetic, and quite different than some of the slower, more spacious gamelan sounds you might be more familiar with – as the Balinese approach can be quite driving and dynamic, with many changes in tempo and tone! The second half is even more amazing – the 20 minute "Ramayana Monkey Chant" – which features a group trading staccato vocals back and forth in an even more frenzied way – building and building as the track goes on, with an intensity that's gone onto make this album the stuff of legends! LP, Vinyl record album

An incredible early experimental album from Art Blakey – one of the first to feature him in expanded percussion format! Side one of the album features the extended "Drum Suite" – a set of 3 tracks ("The Sacrifice", "Cubano Chant", and "Oscalypso") that has Blakey and Jo Jones on drums, joined by Sabu Martinez on bongos and Charles Wright on tympani and gong. Ray Bryant snakes some soulful piano through the set and Oscar Pettiford is on bass and cello – and the overall feeling of the side is similar to some of Blakey's work in the format for Blue Note – like the albums Afro-Drum Orgy or Holiday for Percussion. Side two has straight hard bop, played by Blakey's 1957 combo that included Jackie McLean and Bill Hardman – and the group grooves hard on a classic reading of "Nica's Tempo", plus the cuts "D's Dilemma" and "Just For Marty". (Jazz, Global Grooves) LP, Vinyl record album

A record that's every bit as groovy as you might guess from the title – served up by one of the most unique combos to record for Colombia's Discos Fuentes in the 70s! Afrosound certainly have plenty of rhythms and sounds that resonate with their contemporaries at the top of the South American scene – but they also use rootsier percussion, and served up a rawer sound too – definitely bringing back some West African modes, after that scene had an earlier influence from the world of Afro-Cuban music! There's some especially cool keyboards that get all weird and distorted – like electric guitar on some Peruvian records – balanced with plenty of live, loud percussion – on titles that include "Banana De Queso", "Baila Felipe", "Negua", "Ponchito De Colores", "Carruseles", "Zaire Pop", "Rapsodia Del Chinito", "Me Voy De La Vida", "Salsa Con Tabaco", and "La Negra Saramuya". (Latin, Global Grooves) LP, Vinyl record album

A killer contemporary set from Gyedu Blay Ambolley – one of the Afro Funk heroes of the 70s, still sounding fantastic after all these years! The album was all recorded at Ambolley's Simigiwa Studios in Ghana – and arrangements, instrumentation, and production are all in a very classic mode – with the leader on tenor and vocals, stretching out with this nicely raspy quality that's a great evolution in his sound – as if he's found a way to put even more feeling and experience into the sound that he gives us! The rest of the lineup features keyboards, trumpet, tenor, alto, guitar, and plenty of percussion – on titles that include "Black Woman", "I No Dey Talk I Do De Lie", "Ignorance", "Little Small Girl", "Sunkwa", "Who Go Pay", "Brokos", and "Who Made Your Body Like Dat". CD

Crisp sparkling Afro pop from this Ghanian band. Uptempo grooves are peppered with chirping guitars and bubbling percussion on this set of nice easy African grooves. 7 tracks in all, including "Kill Me & Fly", "Onipa Retu ne Nan", "Saa Na Yede Beye Wo", "Asem Bone Se Hiani", "Gyae Nkonta Buo Yi", "Kusa Wo Bankye" and "Me Wu Mu Bebre". LP, Vinyl record album

A really fantastic idea for a project – and one that comes off even better than we would have guessed – new versions of classic grooves from the nations of Cabo Verde and Guinea Bissau, performed by a really well-matched group of singers and musicians, in a mode that's quite different than the usual revival record of this nature! The songs are definitely classics, but the presentation is very contemporary – directed by producer Guts, and Francisco Sousa, with a special ear for avoiding the sorts of cliches that both mar a project like this, and some of the stereotypes that get reinforced by reissues on the market. Instead, there's a fresh criss-crossing of cultures, but one that never waters down the roots at all – maybe a bit like some of the best Parisian productions of the 70s and 80s post-colonial years. Titles include "Dunia Be Tene", "Riba Bass Di Mi", "Citi Ku Liti", "No Guinea", "Mulato Ferrera", "Segunda", and "Di Mas". LP, Vinyl record album

A jazz record, but one with a vibe that's all its down – and a sound that definitely echoes some of the tropical elements hinted at in the title and on the cover! Laurent Bardainne is a saxophonist who blows with a really rich sound – nicely soulful, and with a raspy, laidback quality that's really seductive – set up here amidst a mix of acoustic and electric elements, including great percussion, occasional keyboards, and just the right electric basslines to trip things along in a sweet midtempo groove! The mix of jazz soloing and nods to global elements takes us back to similar French albums of the 80s – and most of the set is instrumental, although there are occasional vocals from guests, next to great use of outside sound recordings too. Titles include "Singing", "Eden", "We Try", "Serpent Kaa", "Gobules Rouges", "Dance For Eternity", "Welcome", and "Meilleur". (Jazz, Global Grooves) CD

Totally cool, totally amazing music from the enigmatic Francis Bebey – a contemporary on the early 80s African scene of William Onyeabor, and an equally experimental artists! Bebey used a fair bit of electronics, but often with sounds that had acoustic roots – in this case, the ultra cool sansa, which is a similar thumb piano to the kalimba – amplified here in really great ways, and mixed with some moody, dark elements throughout! The music has much more of a 70s vintage than you'd guess from the dates on the record – thanks partly to the raw percussion, and very offbeat production – which sometimes is mellow, sometimes bursts out in these shocking waves of sound. Titles include "Sanza Tristesse", "Forest Nativity", "Sunny Crypt", "Ngoma Likembe", "Guinee", "Di Saegi", and "Binta Madiallo". LP, Vinyl record album

A powerful and righteous album from Brother Moves On – as you might guess from the title – a group led by singer Siyabonga Mthembu, who's worked with Shabaka & The Ancestors – in a lineup that also features some contributions from Shabaka Hutchings as well! The group span their South African roots with some of the contemporary London vibe – mixing jazz elements with vocals and other production elements – in a lineup that also features work from Mthunzi Mvubu on alto and Muhammad Dawjee on tenor. Shabaka Hutchings adds in some flute and clarinet to the group's songs – and titles include "Bayakhala", "Sphila", "Puleng (ext version)", "Sweetie Love Oh", "Mazel", "Ta Tom", "Itumeleng Revisited", and "Hamba The Reprise". (Jazz, Global Grooves) LP, Vinyl record album

An album-length monster from Fela Kuti – and a cut that has him still burning strong in the final years of his too-short life! The cut "Overtake Don Overtake Overtake" is a funky monster – spanning both sides of the record with a choppy drawn-out groove that features a cool spacey electric piano solo, sad wailing sax, and some catchy vocals on the hook – all with a core acoustic vibe that shows no traces of Fela and the group leaning into 80s technology, as so many of their contemporaries were doing. The track's right up there with Fela's best work ever – and the later, more obscure origin of the album makes it tougher to find than some of the earlier records too! LP, Vinyl record album

A smoking lost Afrobeat LP! According to the notes EMI turned this album down when it was recorded in 1971, and we can't imagine what they were thinking – as the set features two lengthy tracks that follow in the best Africa 70s mode! The title track "Why Black Men Dey Suffer" rolls along at a nice midtempo groove – with lots of great Fender Rhodes before the horns come in and blow things over the top! The flipside features "Ikoyi Mentality Versus Mushin Mentality" – which picks up the pace a bit, but still with plenty of room for syncopated percussion, crisp guitar, and electric piano lines – all topped with bold horn lines that urge the tune onto greatness! LP, Vinyl record album

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa". (Latin, Global Grooves) LP, Vinyl record album

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa". (Latin, Global Grooves) LP, Vinyl record album

NSI stands for "new sounds from the islands" – and that's definitely what you'll get here from this combo who serve up a fantastic blend of Antilles rhythms and contemporary club funk – all very much in the best spirit of the early zouk movement at the time! There's lots of great bass on the record – often used as the key core element of the tunes, with keyboards, guitar lines, and vocals layered alongside – almost with a quality that seems to echo the way that American groups were borrowing bits from the Caribbean and using it to inflect funk and soul up in the New York scene of the early 80s. The music is plenty playful, and very groovy – and titles include "Turn Your Face On Me", "Steel Ka Dance", "Oui Ce Yes Roger A Ti Wawa", and "Moin Epi Vou". LP, Vinyl record album

A wonderful fusion of traditional roots and contemporary funk – handled perfectly by this legendary Gambian band! The groove is unique – with earthy percussion and haunting vocals mixed with more 70s-styled funk instrumentation – but often in a way that's as interested in sonic experimentation as it is in search of a groove – an approach that really sets these guys apart from most of their contemporaries, and which has made the Guelewar Band's records get some great attention in recent years. The group call their approach "Afro-Manding Sound" – and titles include "Warteef Jigeen", "NTC The Gambia", "Mamadu Bitike", "President Diawara", and "Jilanna". CD

Jimmy Hyacinthe is posed on the cover like some 70s bluesman, but his music here is much more global overall – plenty of grooves that echo his origins in the Ivory Coast, but handled with qualities that are electric and a bit funky too! The rhythms almost feel Caribbean at times, especially on the uptempo cuts and the way they let the guitars, basslines, and horn parts intertwine – yet the record's also got some laidback moments that almost feel like they carry a bit of influence from southern soul! The whole thing is instrumental, with plenty of Jimmy's guitar in the mix – and titles include the long tracks "Maquis Lo", "Like Fe", "Yatchiminou", "Bla M'Be Oule Oule", and "Alie Soutchin". LP, Vinyl record album

A stunning collection of work from Bola Johnson – a key figure on the scene in Lagos in the years before Fela Kuti and King Sunny Ade! Johnson's style here really shows Nigerian music at the crossroads – upbeat elements of early highlife informing the rhythms with plenty of lean guitar lines and percussion, but topped with all these great jazzy elements over the top – almost as if Johnson is bringing forth an older style of R&B inspiration in the horns, while letting things sound very contemporary in the rhythms! The mix is a bit like some of the wonderful hybrids that were happening on the London scene in the late 50s and early 60s – and the lyrics here often share a similar mix of politics and humor. The package is long overdue – and collects together rare early singles on Philips, with a great set of notes and other titles. Titles include "Somebody Find Me Trouble", "Oh My Baby Josephine", "Obiriki Aye N Yilo", "Koto Ye O", "Buroda Mase", "Kilode", "Mimo Mimo Loluwo", "Lagos Special", "Meme Latori", "Nigeria Drive On The Right", and "Pappa Rebecca Special ". CD

A stunning collection of work from Bola Johnson – a key figure on the scene in Lagos in the years before Fela Kuti and King Sunny Ade! Johnson's style here really shows Nigerian music at the crossroads – upbeat elements of early highlife informing the rhythms with plenty of lean guitar lines and percussion, but topped with all these great jazzy elements over the top – almost as if Johnson is bringing forth an older style of R&B inspiration in the horns, while letting things sound very contemporary in the rhythms! The mix is a bit like some of the wonderful hybrids that were happening on the London scene in the late 50s and early 60s – and the lyrics here often share a similar mix of politics and humor. The package is long overdue – and collects together rare early singles on Philips, with a great set of notes and other titles. Titles include "Somebody Find Me Trouble", "Oh My Baby Josephine", "Obiriki Aye N Yilo", "Koto Ye O", "Buroda Mase", "Kilode", "Mimo Mimo Loluwo", "Lagos Special", "Meme Latori", "Nigeria Drive On The Right", and "Pappa Rebecca Special ". CD

The first-ever solo album from Kweku of Ghana – who you've likely heard as KOG on projects with Nubiyan Twist, Onipa, and others – really sounding great here with a colorful vibe that really fits the image on the cover! The rhythms percolate nicely throughout – lean beats mixed with live percussion and some jazzier instrumentation – only occasionally hitting more familiar West African modes, as KOG borrows bits of influence from his colleagues in the UK – and works in all these cool currents of contemporary soul as well! Titles include "Mayedeen", "Like A Tree", "Shidaa", "Lord Knows", "Ayinye", "Ebeneezer", and "No Way" – which features guest work from the legendary Gyedu Blay Ambolley! CD

The one and only album by Mali's Sidi Yassa De Kayes – a beautiful group who really transcend any easy labels or genre conventions! The style here is almost more personal than some of the other large ensembles in Mali at the time – as the feel is pretty raw and up-close throughout, even though the recording quality is excellent – and the group moves with the same powerful cultural currents as some of their contemporaries. The vocals are really wonderful – soaring and spiritual in ways that recall South African material, but with a much rootsier feel, and an approach that's tied much more strongly to the excellent percussion that drives the whole album. Other instrumentation is largely from guitar and some really beautiful saxophone passages – the latter of which bring in both a soulful and exotic quality to the music. Titles include "Sebe Te Moyola", "Were Wereni", "Lali", "Penda", and "Sidi Yassa". CD

A contemporary set, but one that's unlike any other recent Brazilian recording we can think of – given the very unique vibe that Mauricio Maestro is going for! You might know Mauricio from his mid 70s work with Joyce on Visions Of Dawn – and although this set is a recent recording, it has a same sort of classic feel overall. The sound here has deep rhythms and folksy touches – a warm acoustic mode, but topped with some slight electricity and larger arrangements – a bit like some of the more creative sounds in the Brazilian underground during the post-Tropicalia years – yet with a richness that takes it much farther too! Maestro handled the arrangements, and he brings in a jazz-tinged quality that's not unlike the Milton Nascimento generation – yet the overall approach is earthier too, and vocals are handled by Mauricio, percussionist Nana Vasconcelos, and Kay Lyra – swirled up with a bit of light string backings that really help the record soar to the skies! We'd rank this one right up there with classics from the 70s by Joyce or Edu Lobo – but we also recognize that it's very much it's own record too. Titles include "Jungle Bells", "Agua Clara", "Canto Do Paje", "Todos Os Santos", "Ciclo Da Vida", "Ouvindo Estrelas", "Upside Down", and "Horizonte". (Brazil, Global Grooves) CD

A set with a large date range in the title, but one that actually just features work from two different albums, each recorded seven years apart – one in Nigeria, the other cooked up in San Francisco – both working together here as the fantastic but too-small 80s legacy of Ayo Manuel Ajisebutu! There's plenty of 80s groove in the music, often a lean approach that's heavy on basslines and keyboards, but warmed up with elements that nod back to older Nigerian funk modes, with a more contemporary vibe – yet one that's also not trying for the thinner or more commercial styles that sometimes marked the growth of world music at the time. Side one features titles from the Love Candidate album – including the instrumental "Song Of Love", plus "Fun Time" and "Don't Stop" – and side two features work from the Party Zone album, including "Sojourn", "Gboro Mi Ro", and "Do Good". LP, Vinyl record album