That's Thelonious Monk on the cover, getting an egg yolk removed from his head – and while that image may seem a bit sacrilegious, it's also a great way to portray the sound of this unusual Japanese group! Wonk have a sound that's begun in jazz, but quickly taken to much farther-out territory – maybe part of the funk, cosmic, and soulful currents you'll know in the music of Robert Glasper in recent years – but with even trippier, more abstract moments at times – as acoustic instrumentation comes into play with some hip hop-styled production, but always with a warmly beating heart that really holds the record together! The core group features keyboards, bass, and drums – plus vocals from Kento Nagatsuka on some tracks – and the album also features guest appearances by a few MCs, who further help extend the righteous vibe of the music. Wonderfully fresh, and with a sense of variety that really rewards deeper listening – on titles that include "RdNet", "Savior", "DOF", "Minton", "1914", "Glory", and "Emly". CD

Massive work from this funky Nigerian cat – a set that offers up a key mix of James Brown funk and home-grown elements – all in a blend that's totally unique! The 1970 album mixes together equal parts African highlife and American soul – making for a style that's heavy one minute, lighter the next – and always changing things up in a really dynamic way! Percussion plays a big role on the funkier cuts, and guitar is on most numbers too – used with a lyrical, rhythmic style on the highlife numbers – and a much more hard-vamping approach on the funkier ones. Includes killer versions of "Mother Popcorn", "Let Yourself Go", "There Was A Time", "I Feel Alright", and "Cold Sweat" – plus the tracks "Okere Gwonko", "Everybody Needs Love", "Onuro", and "Magic Feet". CD

A record with a plain white cover, but a sound that's mighty rich – served up by a hip London collective led by drummer Chiminyo, and featuring very soulful contributions from Axel Kaner-Lidstrom on trumpet, James Mollison on tenor, David Mrakpor on keyboards and bass, and Wonky Logic on bass synth and keyboards! There's vocals along the way too – from singers who include Dunja Botic, Plumm, and Solomon OB – and the record is a live one, with ver spontaneous energy in that best London mode of mixing jazz and soul with some contemporary currents – on titles that include "MIA", "Mirrors", "Rampant Monarchist Chant", "Naughty Daddy", "Pressure", "El Flat", "The Future's Ours", and "Chat". LP, Vinyl record album

Nubiyan Twist really open up their sound here – in part by opening the door to a rich array of guest singers and instrumentalists – a lineup that includes Cherise, Pat Thomas, Soweto Kinch, Ria Moran, and Nick Richards – all artists who help bring a different personal flavor to each track, helping to expand the mix of contemporary soul and global elements that we loved on the last record by the group! The vibe is very much in the best contemporary London mode – right down to the rhythms, which are continuously shifting and fresh – on titles that include "Keeper", "Buckle Up", "Morning Light", "Tittle Tattle", "24/7", "Wipe Away Tears", "if I Know", and "Ma Wonka". LP, Vinyl record album

Even an 80s perm can't hide the brilliance of Sue Raney – a singer who first started crafting great music in the 50s, but who kept on going with great records for decades to come! This overlooked gem got little exposure at the time – and it's a swinger that really stands up to the best in Raney's catalog – maybe one of the few female jazz vocal albums of the period that manages to come across in a classic mode, while also embracing some of the advances in phrasing and arrangement – handled here by keyboardist Bob Florence, who's heading up a quartet instead of one of his usual bigger groups. Titles include a great take on Michael Franks' "Baseball", the Willie Wonka gem "Pure Imagination", and Bob's own "How's That For Openers" – plus the tracks "Ridin High", "This Happy Madness", "No More Blues", "Stardust", and "Tea For Two". CD

Even an 80s perm can't hide the brilliance of Sue Raney – a singer who first started crafting great music in the 50s, but who kept on going with great records for decades to come! This overlooked gem got little exposure at the time – and it's a swinger that really stands up to the best in Raney's catalog – maybe one of the few female jazz vocal albums of the period that manages to come across in a classic mode, while also embracing some of the advances in phrasing and arrangement – handled here by keyboardist Bob Florence, who's heading up a quartet instead of one of his usual bigger groups. Titles include a great take on Michael Franks' "Baseball", the Willie Wonka gem "Pure Imagination", and Bob's own "How's That For Openers" – plus the tracks "Ridin High", "This Happy Madness", "No More Blues", "Stardust", and "Tea For Two". LP, Vinyl record album