If ever the term ‘world music’ could apply to a band, then it’s here. Seckou Keita SKQ is a quintet, consisting of Senegal’s Keita on the kora (a 21 string harp/lute like instrument from West Africa, played using only the thumbs and index fingers), accompanied by an Italian double/electric bassist, an Egyptian violinist, and a percussionist and vocalist both hailing from The Gambia. But don’t let that scare you; this isn’t some kind of hideous concept fusion group (the stuff of politically correct, right-on musical nightmares). Far from it. This is genuinely beautiful and uplifting music that requires little or no explanation. The focus is on Keita’s crisp, clean and impeccable playing of established West African roots sounds, with sympathetic support from the accomplished musicians around him, adding little tweaks of Arabic or flamenco rhythm here and there. A wonderful album that had me engrossed and that played all the way through twice before I even touched the controls.

Tom Breslin

Upon its original release back in 1973, ‘Listen Of’ sold more than 150,000 copies in Bryan’s native Brazil alone, but as time passed the record’s status became that of a hidden treasure, buried away in the depths of dusty emporiums and known only to the most astute of diggers. It is therefore with a justified air of excitement and anticipation that music lovers are greeting its glorious release back into the wild, courtesy of a reissue on Jazzanova’s Sonar Kollektiv label. As befits a man who went onto work with Roberto Carlos, Gilberto Gil and Tim Maia, as well as fellow blind musician Stevie Wonder, Paul Bryan (real name Sérgio Sá) has a style that is clearly influenced by both golden era Motown soul and classic Brazilian song writing, and what we have here is a beautiful collection of calming, softly-spoken Folk ballads, full of understated guitar plucks and breezy, Jobim-inspired string arrangements, that has truly stood the test of time. What greater commendation is there than that?

Tom Breslin

Back in the day there were so many funk bands that it would be impossible to mention all of them here. While some have faded away, very few have picked up the torch. Unknown to many however, Galactic has been jamming for quite a while now. Their fifth studio album contains their usual brand of high octane New Orleans funk. In addition, they have invited an eclectic assortment of some of today’s hottest mc’s. “Think Back” featuring Chali 2na from Jurassic 5 is some serious funky swamp music. The title track “From The Corner From The Block” is hip hop with plenty of gumbo mixed in, thanks to Juvenile and the Soul Rebels Brass Band. Ladybug Mecca also stops by to assist on the mid-tempo Tina Marie inspired “Square Biz”. All in all another great effort by Galactic. Perhaps maybe they will finally receive the recognition they rightfully deserve.

Reg Dancy

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"Who is Clutchy Hopkins?" Everyone seems to be asking that question. With this disc,  “Walking Backwards”, he shows that he is a talented producer with smooth beats to lure you into his spaced out world. The disc starts off with “Sounds Of The Ghost”, a dark mid-tempo instrumental that is drenched in funk with sketches of jazz layered underneath. “Love A Woman” is the only track with vocals, courtesy of Darondo. Darondo’s voice is similar to Al Green and is perfect for the sonic landscape of Clutchy’s beats. Combining elements of jazz and funk reminiscent of Madlib, Clutchy Hopkins provides us a snapshot of his skills. It won’t be long before he becomes a household name.

Reg Dancy

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Two albums to their credit, Connie Price & The Keystones have established themselves as masters of the funk. While their first record was an instrumental offering, this release showcases a list of some of the most hardest working mc’s in the game today. Percee P starts the disc off the powerful “International Hustler”. This track has everything, a thumping bass, funky horns and an inspired Percee P. It makes you wonder, "Why did it take this man so long to get a deal?"
“Masters At Work” features Ohmega Watts spitting over a soul drenched track complete with the wah-wah guitar and strings. Aloe Blacc fits perfectly on “Tell Me Something”, the only vocal track featured here. Connie Price is bringing the funk that takes you back to the Stax era. If you like your hip-hop dipped in hot buttered soul then you can’t pass on this.

Reg Dancy

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Benin born guitarist Lionel Loueke made a name for himself on the concert circuit and was spotted by none other than Herbie Hancock who championed his talents and passed on the good word to trumpeter Terence Blanchard who in turn used Loueke’s services. Subsequently Loueke has released a trio of well received albums on the independent label Obliquesound, gaining a reputation in France, before moving to Blue Note for this big label debut. In recent years African artists and jazz have enjoyed a fruitful relationship with Richard Bona and the Kora Jazz Trio being just two of the more successful ventures and Dee Dee Bridgewater returning the compliment in the opposite direction. For ‘Karibu’ Loueke plays in a tight trio and, with the exception of three standards, pens all the other compositions. What immediately strikes is the degree of improvisation and abstraction to many of the pieces and their freshness, notably the radical reworking of the standard ‘Skylark’ which is one of the album’s highlights. On a couple of numbers Loueke enlists the support of Hancock and Wayne Shorter. It is the latter who contributes a gorgeous soprano sax solo to Coltrane’s ‘Naima’ which features lovely percussion.
Loueke’s playing has a melodic folksy feel in parts and with scat vocals a la George Benson, he may in time gain popularity outside jazz circles. Perhaps, his own compositions could veer less towards the abstract and stress both the African and Brazilian influences which he was exposed to as a youth, but there is no questioning the promise of talent on offer, nor the rapport between Loueke and the other musicians. The duet with Hancock on ‘Seven teens’ is worth the admission price alone. A very promising future beckons for Loueke.

Tim Stenhouse

Since emerging as a teenage prodigy in his native Cuba during the 1980s, Gonzalo Rubalcaba has, once settled in the United States, released a series of critically acclaimed albums in a variety of formats including solo, trio, quartet and quintet. One of his best, ‘Supernova’ from 2001 comprised an all-Cuban rhythm section and a wonderful reworking of the old chestnut ‘El Manisero’. For his latest offering, ‘Avatar’ Rubalcaba again teams up with a Cuban compatriot in composer and saxophonist Yosvany Terry, but this time with a contemporary American feel and little or no Cuban influence. If anything this harks back to the abstract sounds of Steve Coleman’s M-Base collective from the mid-1980s. Thus a groove-oriented feel pervades proceedings with use of electronic keyboards. The quintet are at their best on the more reflective pieces such as ‘Preludo Corto no. 2’ and Horace Silver’s ‘Peace’. However, contemporary post-bop listeners will find much to enjoy in the more uptempo numbers. Not necessarily the ideal surroundings in which to showcase Rubalcaba’s pianistic virtuosity, but an accomplished set nonetheless and one that cements his already excellent reputation.

Tim Stenhouse

Back in the late 1960s and early 1970s, jazz music was recorded to the backdrop of major political and social upheavals and these are celebrated in this very well documented and presented esoteric selection of rare and truly obscure vinyl delights. In recent years independent labels such as Tribe out of Detroit, Black Jazz and Strata East have finally received their due and selected albums re-issued. However, the music showcased here is even less well known and often on one-off labels that individual artists released themselves for an extremely limited local audience at the time. The overall feel is one of an openness to musical influences within and beyond the United States, with a particular focus on Africa and the Middle East. Among the wonderful musical treasures on offer a few are worth pointing out including the intriguingly named Ohio Pentitentiary 511 Jazz Ensemble and a rendition of ‘Psych City’. Long-time Sun Ra bassist Ronnie Boykins with the elongated and experimental ‘The will come, is now’ is another highlight while African flavours abound on Senegalese percussionist Mor Thiam’s ‘Ayo Ayo Nene’ and Middle Eastern modes evident on Salah Ragab and the Cairo Jazz Band’s ‘Neveen’. Additional 45s from Leon Gardner and Lloyd Miller provide a more succinct sampling of the music on offer. The compilation is best viewed as a companion to the excellent ongoing Gilles Peterson jazz series. If the names are not familiar, do not be put off as this is a voyage of musical discovery well worth the extra effort.

Tim Stenhouse

Jack Splash, the man who blessed us with “The Return Of Jack Splash” in 2004 is back. Like is debut, “Time Traveler” provides plenty of soulful eighties styled funk that made Jack so enjoyable to listen to. The title track is certainly one of the highlights, thanks to the soulful horns, the laidback groove and the sunny upbeat vibe it projects. “Your Love” is another rhythmic track that is taylor made for Jack’s appealing vocals, again capturing that warm happy feeling that he receives from his girl. Except for a couple of misfires like “Take It Off” and “U Mess It Up, So We Took It Back”, Jack maintains a tight funky groove throughout. Even wrapping up the disc with the ballad “Fool For U”, which sounds very much like the Isley Brothers “Don’t Say Goodnight”. Nonetheless, it shows that Jack is equally skilled at massaging a ballad as he is bringing the funk. Jack Splash provides us with an entertaining disc full of lighthearted funky grooves, much like his debut. If you enjoyed the first disc, you will certainly enjoy this one.

Reg Dancy

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Sonar Kollektiv really know how to celebrate because here’s another way to celebrate 10 years in business: yes, it continues into 2008. They got 15 label artists and friends, led by Volker Meitz, to create the Sonar Kollektiv Orchester. This was another good excuse to go through the back catalogue and produce some cracking new versions of the anthems we all know and love, so giving them a new breath of life. Tracks that got me hooked on the first few plays were the covers of Meitz’s "Africa", Thief’s "Atlantic" and of course the five Jazzanova tracks. Volker has done himself proud, but, with such good material, he was never going to fail. Whilst you’re waiting for the official release, do check out this wonderful video of their live session at the Tabe Club Festival: http://www.dailymotion.com/video/x3jtw8_tabe-club-festival-sk-orchester-200_music

Simon Harrison