The acoustic duo's first album in three years doesn't substantially alter the twosome's established game plan. But its well-recorded mix of studio and live tracks - including one with a full yet laid-back band - shows them to be at the top of their form. Combining traditional Delta and Piedmont blues and gospel classics like Robert Johnson's "Last Fair Deal Going Down" (a concert staple that finally makes it to disc), Blind Boy Fuller's salty, suggestive "Something Smells," and Skip James' "Sick Bed Blues" with their similarly styled originals proves they are not stuck in the past, even as they revel in visiting and interpreting it. John Cephas' "The Pimp in the Pink Suit," with its cowboy chorus, could just as well have been written in the '30s. Phil Wiggins shines on "Burn Your Bridges," an instrumental showcase for his lip-shredding harmonica gymnastics that is as compelling as anything from the great Sonny Terry, an obvious influence…

Partly because of its Brazilian collaborators and partly because of "The Girl From Ipanema," Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in "Desafinado." It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's "Bahia" and Antonio Carlos Jobim's "Desafinado" and "Samba de Uma Nota Só" [aka "One Note Samba"]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced - in harmony and rhythm - as it is beautiful…

Samsara Blues Experiment are a Berlin based band, founded in Summer 2007 by leadguitarist/singer Christian Peters. They went through several changes in the first period but are in constant line-up since September 2008 featuring Hans Eiselt (guitar), drummer Thomas Vedder and Richard Behrens (bass). As the band name implies three elemental aspects are to notice - the blues as the fundament where it all comes from, the inclusion of spiritual influences accompanied by Indian/raga music and the experimental approach to mix up varied elements in a convincing manner.
The band's songs are dominated by a playful dual guitar work as well as a passionate blend of heavy psych, stoner and space rock. This is provided with several nuances and transitions in between - quite retro styled, jamming, even sometimes worked out with a repetitive hypnotic touch in the tradition of krautrock…

This live album was recorded at OMD's show at the Liverpool Empire on 4th November, the hometown show on the 40th Anniversary Greatest Hits tour.
Orchestral Manoeuvres in the Dark are one of the earliest, most commercially successful, and enduring synth pop groups. Inspired most by the advancements of Kraftwerk and striving at one point "to be ABBA and Stockhausen," they've continually drawn from early electronic music as they've alternately disregarded, mutated, or embraced the conventions of the three-minute pop song. Outside their native England, OMD are known primarily for "Maid of Orleans" and the Pretty in Pink soundtrack smash "If You Leave," yet they scored 18 additional charting U.K. singles in the '80s alone…

Orange Mountain Music presents AFRICA SINGS, a probing celebration into African music, through classical music and jazz, through legacy and tradition. The recital begins with Angélique Kidjo singing Bella Bellow's Senye, segueing into the premiere recording of Philip Glass's orchestral song-cycle Three Ifé Songs, composed for Kidjo in 2014. The focus goes then to American music with Duke Ellington's Black, Brown and Beige in Maurice Peress orchestral arrangement, before shifting to Europe and Alexander Zemlinsky's Symphonic Songs sung by Martin Achrainer which set, in translation into German, the poems of the great Harlem Renaissance poets Langston Hughes, Jean Toomer, Countee Cullen, and Frank Horne. Kidjo joins the venerable Bruckner Orchester Linz and conductor Dennis Russell Davies who cruise through the Ellington before digging deep into the Zemlinsky with baritone Martin Achrainer in tour-de-force performances from beginning to end.

Jarvis Cocker and Steve Mackey, founder members of Pulp and DJs/record collectors/music lovers extraordinaire have said they will only ever do one mix album. Well, here it is. Meticulously researched and compiled, it's an amazing journey through power pop, expansive soundtracks, blues, alternative cover versions, junk shop breaks and genuinely unexpected musical nuggets. It's a genuine treat to listen to and, a rarity these days, a great introduction to some amazing, underexposed and obscure artistes and tracks.

Cynics might point out the reality that greatest-hits packages on artists who have left a label are a ploy to milk the consumer, but the consumers care more about a solid package full of their favorite songs from the artist. The new Acoustic Alchemy (with Miles Gilderdale replacing the late founding guitarist, Nick Webb, as Greg Carmichael's partner) is riding high on Higher Octave Music, but the material on this collection – part of a new GRP collection series – will always be, to the true Acoustic Alchemy fan, the real deal. AA's post-Webb sound is fancy and feisty, extremely soulful, and very attractive. Yet, there's something more intimate about the way Carmichael and Webb interacted; theirs was a union of true musical soul mates. This wonderful 16-track collection from their GRP and earlier MCA "Master Series" projects was chosen and sequenced by their manager, Stewart Coxhead, and he smartly picks all the crowd favorites: "Mr. Chow," "Catalina Kiss," "Same Road, Same Reason," and more. The range from pop to Latin to reggae is fun to experience again. There's obviously a poignancy to all this because of Webb's 1998 death, but it's more important to celebrate the legacy. As syndicated radio host and Catalina Island Jazz Trax festival promoter Art Good says simply in his liner notes, "These are good songs." More importantly, they speak of an innocent time, the early days of smooth jazz when even the gentlest of these could become radio hits. ~ Jonathan Widran

THE BOSWELL SISTERS The Boswell Sisters inauspiciously launched their recording career in New Orleans, their hometown, on March 22, 1925, but their first release, I’m Gonna Cry and Nights When I’m Lonely didn’t shake any rafters. Early local appearances featured Connie, the eldest, on cello, Helvetia (“Vet”) on violin, and Martha at the piano, but the city’s jazz environment made Connie and Vet switch to saxophone and banjo, respectively. At first, the singing was almost incidental, but it became their ticket to national attention five years later when they moved to New York and became a fixture on radio shows. The Boswell Sisters were notable for their tight harmony as well as their unique ability to modulate pitch and give familiar songs a new melodic twist. They were the cutting edge that inspired future groups, including The Andrews Sisters, who began their own career by emulating them, even down to their Southern accent. The exuberant sisters recorded a string of hits in the 1930s, sometimes teaming up with fellow vocalists, such as Bing Crosby and The Mills Brothers. Instrumental accompaniments are by some of the day’s most popular musicians and bands, including The Dorsey Brothers, Don Redman, Red Nichols, and Benny Goodman. Considering their popularity and impact, the sisters had a relatively brief run, disbanding in 1936 when Martha and Vel married outside of the music industry and decided to give priority to family life. Connie, however, continued and enjoyed a successful solo career. This boxed set contains the entire Boswell Sisters output of commercially released recordings—a remarkable set of performances that paved the way for the vocal trio genre.

Irrepressible, off-the-wall and utterly unique - the late ‘70s/early ‘80s Latin jazz-funk and leftfield electronic boogie of Japanese composer and pianist Izumi ‘Mimi’ Kobayashi collected for the first time. A luminous soul with an indefatigable love for music, few artists have had careers as varied and successful as Izumi ‘Mimi’ Kobayashi. One of Japan’s leading jazz-funk pianists, she wrote and recorded cult albums with fusion legends at home and abroad. Obsessed with new electronic instruments, she penned some of the country’s most well-known TV themes and pioneered the use of drum machines in anime soundtracks. A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings made at Prince Fatty’s studio.

Call it psycho-funk, call it Brit easy, call it downtempo abstract – whatever the case, it's all great! This second volume in one of our favorite all-time series is a stunner – and it comes up with a sparkling blend of very fresh grooves that we've only ever heard matched by a few other compilations over the past few years. The general vibe is rare soundtrack and sophisticated jazz funk material – and a huge amount of these cuts come from sources we've never seen before! Tracks include "The Rub" by Alan Tew, "Pretexte Indicatifs" by Guy Pederson, "Abstraction" by Projection, "Plummer Park" by Pete Jolly, "My Love For You & The Ugly" by Ed Green, "Beach Buggy" by Pierre Duchamp, "Beat Construction" by David Seeland Band, "Sour Soul" by Gentle Rain, "Night Is Blues" by Performance, "Name Of The Game" by Brian Bennet, and "Bass In Action #1" by Tonio Rubio. 19 cuts in all!

Brazil has always had its own brand of musical virtuosity, one that combined a distinctive and innate rhythmic swing with an effortless ability to turn seemingly abstract riffs into ridiculously catchy hooks. In the late '60s and '70s when these talented players in Rio and Sao Paolo turned their focus towards the North American funk scene and bands like Kool & the Gang, the Meters and the JBs, a new element was added to the mix. As the more polished sound exemplified by Quincy Jones and CTI Records took hold, Brazilian musicians red right back with their own distinct twist on the sound, one that inevitably revolved around a rhythm section laying down grooves that were both the tightest and the most supple imaginable. If that combination seems paradoxical, this collection will make the notion clear. Culled from the times no vocalist was claiming the spotlight, these instrumentals focus firmly on the rhythm section and its funky accompaniment, a journey through the '70s heyday of instrumental funk from Brazil from its rawest roots to refined boogie gems.

In the fall of 1983, a struggling singer from Ozone Park, Queens with audacious vintage style and a riot of candy-colored hair was about to go supernova in the new MTV-dominated music scene: Cyndi Lauper. She's So Unusual was just released and it blazed with a vivid kaleidoscope of styles including new wave, pop, post-punk, girl-group Motown and reggae. It was a perfect complement to Lauper's astonishingly supple voice and the irresistible vibrancy of the songs immediately endeared them to audiences all over the world.

For folk singer Willi Carlisle, singing is healing. And by singing together, he believes we can begin to reckon with the inevitability of human suffering and grow in love. On his latest album, Critterland, Carlisle invites audiences to join him: “If we allow ourselves to sing together, there's a release of sadness, maybe even a communal one. And so for me personally, singing, like the literal act of thinking through suffering, is really freeing,” he says.

Nowhere is the beat of a drum more symbolic of a culture than in Africa, where it’s forever been the heartbeat of daily life. From the trance percussion of South Sudan to the gnawagroove of Morocco, this is an exploration into a continent’s rhythmic life source.

Night is Alive proudly presents “This Christmas,” an extraordinary album that brings together the unparalleled talents of Teddy Horangic and Frank Lacy on vocals, accompanied by an exceptional lineup of musicians. Featuring the mesmerizing melodies of Xavier Davis on piano, the soulful saxophone tunes by Wayne Escoffery, the soaring trumpet sounds of Jeremy Pelt, the rich trombone tones of James Burton III, the groovy bass lines of Richie Goods, and the rhythmic beats of Quincy Davis on drums, this album is a masterpiece of musical collaboration and holiday cheer.