Two rare albums from Uncle Victor Chukwu – a hell of a guitarist, and the driving force behind both of these Nigerian gems from the late 70s! Akalaka is a record that's maybe higlife in outward appearance, but which has a very different quality overall – in part because the guitar work from Victor Chukwu is so sharp and searing, there's often a bit more edge on some of the tunes than the lighter, brighter notes you'd usually associate with the genre! Plus, the vocals have this nicely echoey vibe – ringing out with a quality that's equally great, whether the lyrics are in English or Igbo – on long titles that include "Akalaka", "Born Throw Away", "Ogbu Mmadu", and "Nwanne Bu Nwanne". Next up is an album that Victor Chukwu did with the Black Irokos group – a set that's even more striking, and almost experimental at times – with all these odd elements played right down near the bottom of the guitar strings, which are then echoed out with effects that make them sound very cool next to the percussion! There's a bit of horns in the mix, but the guitar and offbeat vocals are the main appeal – on the long tracks "Onwu Uwa", "Anya Ukwu", and "Oge Chukwu Ka Nma". CD

Two rare albums from Uncle Victor Chukwu – a hell of a guitarist, and the driving force behind both of these Nigerian gems from the late 70s! Akalaka is a record that's maybe higlife in outward appearance, but which has a very different quality overall – in part because the guitar work from Victor Chukwu is so sharp and searing, there's often a bit more edge on some of the tunes than the lighter, brighter notes you'd usually associate with the genre! Plus, the vocals have this nicely echoey vibe – ringing out with a quality that's equally great, whether the lyrics are in English or Igbo – on long titles that include "Akalaka", "Born Throw Away", "Ogbu Mmadu", and "Nwanne Bu Nwanne". Next up is an album that Victor Chukwu did with the Black Irokos group – a set that's even more striking, and almost experimental at times – with all these odd elements played right down near the bottom of the guitar strings, which are then echoed out with effects that make them sound very cool next to the percussion! There's a bit of horns in the mix, but the guitar and offbeat vocals are the main appeal – on the long tracks "Onwu Uwa", "Anya Ukwu", and "Oge Chukwu Ka Nma". LP, Vinyl record album

An album from the 80s, but one with a very timeless vibe – as the set is heavy on mbiri work from Dumisani Maraire – recorded in a way that mostly just features vocals alongside the sparkling tones of the thumb piano! The mbiri is likely amplified here – as it's got a resonance and presence that you'd not find in a more standard recording – but the overall session is free of too-commercial polish or any sort of other instrumentation – as Dumiani and his family deliver these really beautiful lyrics by trading back and forth in a really classic way. Titles include "Tichazomouna", "Zanu Inokuperekedza", "Hande Kubasa", "Ndofa Ndichibayiwa", and "Mwandikanganwa". LP, Vinyl record album

A really well-chosen set of classic Afro Funk records from Fela Kuti – hand-picked by Idris Elba, and brought together in this limited box set! Open & Close is an early classic from Fela Kuti & Africa 70 – the kind of early 70s record that helped both the leader and the group establish themselves as a global powerhouse of funk and soul! The set begins with the side-long "Open & Close" – a righteous tune that's driven onward by lots of tight drums from Tony Allen – young, focused, and completely amazing here – while Fela delivers all these madly leaping electric piano lines amidst the super-sharp horn section – all moving instrumentally for many minutes before the vocals come into play! Side two features two shorter tracks, but still nice and long in comparison to most funky groups – the wonderful "Swegbe & Pako" and "Gbagada Gbagada Gbogodo Gbogodo" – tunes that really send the record over the top! Fela teams up with vibist Roy Ayers on Music Of Many Colors – one of the best soul collaborations ever – a whopping album that brings together the best sides of these monster soul talents of the 70s! In keeping with Fela's work, the tracks are long and Afro-tinged, with a complicated groove that grows over the length of the track. And in keeping with Roy's work, the album has a sweet soulful feel, with lots of nice jazzy touches, cool vibes, and great vocals by Roy. Two long tracks, both classics: "2000 Black" and "Africa, Center of the World". Opposite People is seminal work from one of Fela's most crucial periods – recorded at a time when his soul was the deepest! The album features 2 long tracks – "Opposite People" and "Equalisation Of Trouser & Pant" – and they both have beautiful spooky keyboards in the instrumental passages, then leap into hard soul vocals by Fela. Tremendous stuff – done in a style that shows that no matter how many people cop or remake Fela's sound, he's still the best one to do it! The rare Stalemate album features the side-long tracks "Stalemate" and "Don't Worry About My Mouth" – both really hard-driving numbers, with a fantastic mix of vocals and grooves! Live In Amsterdam is an excellent live set from Fela – one that shows that he was still very capable of going over the top during the 80s! The set's a double LP – and it features 4 great numbers by the group, with Fela on soprano sax, piano, and organ, and plenty of other great work on tenor, alto, and trumpet. Titles include "Gimme Shit I Give You Shit", "Custom Check Point", "Movement Of The People", and "Political Statement Number 1". I Go Shout Plenty is a great one from Fela – with a date of 1986, but a sound that's pure late 70s! The record features 2 long tracks – "I Go Shout Plenty" and "Why Black Man Dey Suffer" – and they're both hard groovers with a strong political feel. "Why Black Man" is especially nice, and has some great keyboard riffing in the middle, with that great tinny sound that you'll hear on the best Fela albums. One that we almost never see – and issued on the Decca subsidiary Afrodisia. LP, Vinyl record album

Two killers from the glory days of Afro Funk! Side one features the title cut "Excuse O" – a tune that begins with some of the most complicated rhythms Tony Allen had given the group to date – a skittish groove that has the electric piano jumping eagerly, driven onward by horns – while the tune moves into a crescendo after Fela's tremendous tenor solo in the middle! "Mr Grammarticalogy" is on the flipside, and is an equally unique groove – one that builds more slowly, and almost dubbily – really letting the bassline set the tone before an incredibly soulful saxophone solo sets the tone for Fela to then deliver a powerful message on Education. LP, Vinyl record album

An early classic from Fela Kuti & Africa 70 – the kind of early 70s record that helped both the leader and the group establish themselves as a global powerhouse of funk and soul! The set begins with the side-long "Open & Close" – a righteous tune that's driven onward by lots of tight drums from Tony Allen – young, focused, and completely amazing here – while Fela delivers all these madly leaping electric piano lines amidst the super-sharp horn section – all moving instrumentally for many minutes before the vocals come into play! Side two features two shorter tracks, but still nice and long in comparison to most funky groups – the wonderful "Swegbe & Pako" and "Gbagada Gbagada Gbogodo Gbogodo" – tunes that really send the record over the top! LP, Vinyl record album

An unusual British jazz group gets even more unusual – with a sound that's even more mindblowing than some of their better-known records! The combo's headed by pianist John Mayer, who cut two fantastic Indo Jazz Fusions with reedman Joe Harriott in the late 60s – working here on an unreleased studio session from a few years later – with stunning guest work on harmonica from the great Larry Adler! At the core are the familiar Indo Jazz Fusions sounds – reeds from Stan Sulzmann on alto and flute, plus sitar from Clem Alford, guitar from Jim Moyes, bass from Jeff Clyne, drums from John Marshall, and tablas from Krishav Sathe – players who continue that jazz-meets-Indian spirit at the start of the set – then step back slightly on the Eastern tip from track two onwards – as Adler comes in with these amazingly eerie harmonica lines – a very strange but compelling blend with the energy of the rest of the group, and quite different than any of Larry's better-known recordings from earlier years. Once things get going, the mix of harmonica and Indian modes really steps up – a really cool mix, with lots of modal energy – on titles that include "Raga Malika", "Serenade", "Raga Megha", "Summertime", and "Sarabande". (Jazz, Global Grooves) CD

A much-needed slice of work from Juju – the group who later transformed into spiritual funk ensemble Oneness Of Juju! Juju only recorded two full albums in the early 70s, so this unissued live set is a key addition to their catalog – and the whole thing's got this bold quality that's much more jazz-based, and often more avant than the group's later work – more in line with work in the tradition of the AACM, or some of the earliest loft jazz talents. No surprise, the set was recorded at Ornette Coleman's space on the lower east side in the early 70s – with the mighty Plunky Nakbinde on saxes and flute, sounding a lot more searing than any of his records from the 80s onward – plus Babatunde on percussion, Lon Moshe on vibes and flute, and Al-Hammel Rasul on keyboards. There's a bit of vocalizations, and lots of percussion from group members too – and the sound is very spiritual, with touches of more percussive Afro-centric playing. Includes a great version of Eddie Palmieri's "Azucar Para Ti", plus "At Least We Have A Horizon Now", and "Live Mozambique". Includes unreleased tracks "Thembi" and "Rosalie/Juju's Door". (Jazz, Global Grooves) CD

A really unique project from the end of the 70s – a set that takes some of the Afro Funk energy that was bubbling in West Africa during the decade, then mixes it with some funky jazz touches arranged by the great William S Fischer! The mix of cultures comes out perfectly – with no forced for fake modes at all – as Aleke Kanonu plays lots of percussion and sings in a variety of languages – alongside a group that features Bad Bascomb on bass, Milt Ward on trumpet, George Davis on guitar, Earl McIntyre on trombone, and Fischer on tenor, organ, and a host of keyboards! Bascomb's basslines are great – and really hold the whole record together at the bottom – with a bad-stepping jazz funk core that allows Aleke plenty of freedom in his performance, on long tracks that stretch out with a hell of a lot of creativity and warmly collaborative energy. Tracks include "N'Gwode", "Keep New York Clean", "Mother's Day", and "Home Sweet Home". CD features bonus tracks "Happiness" and "Nwanne Nwanne Nwanne". CD

Amazing work from Nomo – their greatest album so far, and an incredible step forward in styles! Nomo started out as an already-great Afro Funk combo – but over the past few records, they've picked up a really hip range of musical influences – spiritual jazz, electronica, Congotronics, and other cool sounds – all of which are filtered perfectly into this set! The grooves here are unlike anything else we can think of – as tight as Nigerian grooves from the 70s, but stretching out with really jazzy solos – all inflected with some cool electronic touches underneath, but in ways that jam along strongly with the acoustic instrumentation. Leader Elliot Bergman picked up some great added help for this set – including contributions from underground jazz players like Hamid Drake, Josh Abrams, and Adam Rudolph – all of whom help shape the sound wonderfully. Titles include "Nova", "Three Shades", "Last Beat", "Brainwave", "All The Stars", "Sound The Way", "Rings", "Ghost Rock", and "My Dear". CD

A record with a really unique vibe – definitely jazzy, but different than most other South African jazz of the time – as the set spins out two very long tracks that take their groove from township modes of the period, but then use some of the longer-form rhythmic jazz instrumentation that bubbled up on the SA scene from the 60s onward! Bra Sello plays some great alto on the set, but there's also guitar, flute, organ, and other solo instrumentation too – and although some vocals might come into the mix here and there, they never get in the way of the solos – on the extended tracks "African Queen" and "Butterfly". LP, Vinyl record album

Fantastic longform grooves from the Tabansi Studio Band – a cool combo who worked to support Nigerian artists on the Tabansi label, but who have a sound here that's very much their own! These tracks are a lot wilder and more freewheeling than any of the group's music behind a singer – and although there's some vocalizations on the record, the main focus is in the ever-shifting, always-groovy rhythms – and the brilliant mix of guitar, basslines, and sax parts that criss-cross the tunes! Most numbers are around the 15 minute mark, but build up in ways that are very different than more familiar Afro Funk – and titles include "Kama Sofoa", "Aka Ji Ego Ga Anu Nwam", "Wakar Alhazai", and "Lokoel Azumi Ta Wuce". CD

Fantastic longform grooves from the Tabansi Studio Band – a cool combo who worked to support Nigerian artists on the Tabansi label, but who have a sound here that's very much their own! These tracks are a lot wilder and more freewheeling than any of the group's music behind a singer – and although there's some vocalizations on the record, the main focus is in the ever-shifting, always-groovy rhythms – and the brilliant mix of guitar, basslines, and sax parts that criss-cross the tunes! Most numbers are around the 15 minute mark, but build up in ways that are very different than more familiar Afro Funk – and titles include "Kama Sofoa", "Aka Ji Ego Ga Anu Nwam", "Wakar Alhazai", and "Lokoel Azumi Ta Wuce". LP, Vinyl record album

Seminal sounds from the Nigerian scene at the start of the 70s – music from the key figure of Celestine Ukwu, an artist who helped to reinvigorate the highlife style of years past, and pave the way for Afro Funk changes in years to come! Celestine's sound is nice and lean here – very rhythmic, with the guitar wrapped around the percussion and basslines in beautifully snakey action – while the vocals also have a quality that's maybe more personal than before – at points almost the raspy intimacy we love in some Brazilian singers! The package brings together work from three different albums from the early 70s – all long tracks that include "Tomorrow Is So Uncertain", "Onwunwa", "Ejina Uwa Nya Isi", "Ilo Abu Chi", and "Okwukuwe Na Ncheckwube". LP, Vinyl record album

A vivid portrait of a rich legacy in jazz – the wonderful sounds that have come from the South African scene from the early 60s onwards – served up nicely in this well-chosen set! The collection mixes underground work with well-known artists, older tracks with more contemporary ones – yet the whole thing comes together with a relatively unified feel – and a strong focus on the kinds of unusual rhythmic impulses that have always made South African jazz so unique. Titles include "Ntyilo Ntyilo" by Thandiswa, "Clarinet Kwela" by Kippie Moeketsi, "Dembese" by Brian Thusi, "Emampondweni" by Batsumi, "Vuvuzela" by Bokani Dyer, "Seven Days Ago" by Allen Kwela, "Dindela" by Errol Dyers, "Kwabulawayo" by African Echoes, and "Tlhapi Ke Noga" by Dolly Rathebe. CD

Music as lively and colorful as the image on the cover – upbeat work from the second half of the 80s scene in South Africa – music that has a very positive vibe overall, and a sound that's perfect for the mix of keyboards and beats used in the rhythms! The styles here are those which were borrowed – or plundered – by artists in the mainstream up north – but these are the tracks that really made the SA scene back in the day, and have a wonderful blend of synth, basslines, and vocals that often trade back and forth nicely – warming up the music a lot more than you'd expect! Titles include "Crocodile's Rock" by Black Moses, "I Was Born In Africa" by Richie S, "Blackout" by Tools & Figs, "Dayshift" by Dieketseng, "Ximamane" by Joy White, "Chomesa" by Chicco, "Nwananga Washanesera" by Joe Masunga, "Pusa Twala" by Sky Jinx, "Khombora Mina" by Paul Ndlovu, "Johnny Boy" by The Angels, "Don't Follow Me" by Mafika, and "Special Angel" by Babsy Mlangeni. CD

Music as lively and colorful as the image on the cover – upbeat work from the second half of the 80s scene in South Africa – music that has a very positive vibe overall, and a sound that's perfect for the mix of keyboards and beats used in the rhythms! The styles here are those which were borrowed – or plundered – by artists in the mainstream up north – but these are the tracks that really made the SA scene back in the day, and have a wonderful blend of synth, basslines, and vocals that often trade back and forth nicely – warming up the music a lot more than you'd expect! Titles include "Crocodile's Rock" by Black Moses, "I Was Born In Africa" by Richie S, "Blackout" by Tools & Figs, "Dayshift" by Dieketseng, "Ximamane" by Joy White, "Chomesa" by Chicco, "Nwananga Washanesera" by Joe Masunga, "Pusa Twala" by Sky Jinx, "Khombora Mina" by Paul Ndlovu, "Johnny Boy" by The Angels, "Don't Follow Me" by Mafika, and "Special Angel" by Babsy Mlangeni. LP, Vinyl record album