The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP, but far too important not to be heard.

This Double Pack also includes the title track off the forthcoming album “Now More Than Ever”, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording of the album. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration.

The EP features seven tracks, including reimagined and extended versions of classics such as Moonshine, Lady Day and John Coltrane, and Home Is Where the Hatred Is, plus a deep focus on Racetrack in France — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album.

Highlights include:

The MAW (Masters at Work) Live Mix of Moonshine, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone.

A sprawling 12" version of Home Is Where the Hatred Is — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance.

The 12” version of Lady Day and John Coltrane, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement.

A masterful reworking of Racetrack in France featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The Instrumental version is also included in this 2 x 12” EP.

Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever EP 2 is an essential release — a bridge between the past, present, and the music still to come.

Vinyl Tracklist

A1. Racetrack in France (12" Version)
B1. Moonshine (MAW Live Mix)
B2. Now More Than Ever
C1. Home is Where The Hatred Is (12" Version)
D1. Lady Day & John Coltrane (12" Version)
D2. Racetrack in France (MAW Instrumental Organ Mix)

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The 10th release on ALIM Music, a stone-cold classic, has been reborn. Gil Scott-Heron and Brian Jackson's The Revolution Will Not Be Televised, the iconic song of protest and Black Consciousness, has been reimagined and revitalised for a new generation. With new lyrics and vocal performance from Black Thought, a reworked and bassline-heavy production by Masters at Work, Brian Jackson has recreated an absolute masterpiece.

Originally taken from Gil's poem as performed on his Small Talk at 125th & Lenox and then released as a proto Hip-Hop song featuring Bernard Purdie's drumming on the 1974 Pieces of a Man album, this new version updates the track's original powerful lyrics to include references to the propaganda of Fox News, social media tropes, live streaming, taking the knee and modern day consumerism. Delivered by Black Thought in his imitable style and accompanied by Brian Jackson's incisive jazz flute, these new lyrics represent a Black Liberation call to action for today's world.


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The Chisa Years: 1965–1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label.

Thom Jurek of Allmusic wrote “In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.”

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Take Brian Jackson and Gil Scott-Heron’s iconic track “The Bottle”, add a sublime vocal
performance from UK soul legend Omar, and put it in the hands of house music pioneers
ake Brian Jackson and Gil Scott-Heron’s iconic track “The Bottle”, add a sublime vocal performance from UK soul legend Omar, and put it in the hands of house music pioneers Masters At Work—and you get a version that’s both timeless and urgent, filled with joy, fire, and social consciousness, and built for the dancefloor.

Driven by Masters At Work’s signature attention to detail, and elevated by the calibre of the musicians and vocalists involved, this reimagining of “The Bottle” evolved into something truly epic. In fact, the final mix turned out too long to fit on Brian Jackson’s upcoming 3LP album, Now More Than Ever—but everyone agreed: fans had to hear it in its full glory.

So here it is, released exactly as intended on this twin 12" vinyl and digital EP.

Also included are exclusive versions of:
“Winter in America” featuring sonorous vocals from Rich Medina

“New York City”, reimagined as a deeply soulful, downtempo groove featuring Cindy Mizelle, Dawn Tallman, and Ramona Dunlap

This EP is a love letter to the role of music in Black Liberation, reconnecting the powerful legacy of Brian Jackson and Gil Scott-Heron with the voices and vision of 2025.

A powerful taste of what’s to come on Now More Than Ever—but also a vital standalone statement, delivered by legends at the top of their game.

Tracklist
Vinyl Tracklist

A1. The Bottle (12" Version)
B1. The Bottle (MAW Bass Hit Dub)
B2. New York City
C1. Winter in America (12" Version)
D1. The Bottle (MAW Harlem Dub)
D2. The Bottle (Masters At Work Dub)

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The collaboration between BBE Music and If Music continues with another excellent compilation in the ongoing If Music Presents series with this 2nd volume in the World Jazz Grooves chapter. Alongside the A Journey Into Deep Jazz albums in the catalogue, World Jazz Grooves Volume 2 explores the global diversity of Jazz in its many forms, as interpreted throughout the globe, with tracks from Denmark, France, Brazil, Canada, the USA and Jamaica.

Tracklisting

Disc: 1
1. Third World
2. Marlowe's Back in Tome
3. Rosa Mae
4. Aguamarina (a Elis Regina)

Disc: 2
1. Song for a New South Africa
2. Dakar
3. I En Kælder
4. Ich armes Maidlein klag mich sehr

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Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling.

Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track.

Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today.

Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2 with a digital release also featuring instrumentals of both mixes.

A1. Brand New Feeling - Yoruba Soul Mix Part 1
B1. Brand New Feeling - Yoruba Soul Mix Part 2

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Anushka's third album Ancestry comes out on BBE Music as both digital and vinyl and represents a massive hitting of the duo's potential as songwriters, musicians and performers following their well received and critically acclaimed previous releases on Brownswood and Tru Thoughts respectively. Indeed Ancestry represents their best album to date and one which befits a release on one of the UK's (and the world's) premiere independent record labels. Anushka is the collaborative name for Victoria Port and Max Wheeler. The duo first met in the vibrant club, music and arts scenes in that creativity incubating south coast town that is Brighton. With their first single, Yes Guess, gaining support from major broadcast influencers such as Gilles Peterson they released their debut album, Broken Circuit, in 2014. With major airplay support from Mary Anne Hobbs, Annie Mac, the aforementioned Gilles Peterson and others the second album Yemaya was released in 2021. On this second record they experimented with their sound, exploring darker and more complex songs and palettes. Both albums forged Anushka's sound and production values, combining a deep respect for the UK's electronic club culture mixed with Jazz and Soul. Now, with the release of Ancestry on BBE Music, the duo has created an album that furthers their sound, their songwriting, their arrangements and their production. Victoria's songwriting for Ancestry is influenced by her love of Ella Fitzgerald, Sampha, Jimmy Cliff and Georgia Anne Muldrow. Max's approach to the production on Ancestry is driven by his own ancestral back catalogue of music from Moodymann and Theo Parrish and further back to Larry Heard, Wu Tang Clan and the 90's electronica of Tricky, Portishead and David Holmes. It definitely bears repeating that list of influences has resulted in Ancestry being Anushka's best album yet. Releasing on BBE Music, on both digital and vinyl formats, Ancestry is an album that is a must for lovers of the highly innovative, jazz and soul fuelled club sound that is part of the UK's contemporary music scene.

Tracklisting

1. You Don't Dream
2. Overwhelmed
3. Really (Nothing is Cool)
4. Keep Me in the Picture
5. Wanna Dance
6. Afternoon
7. My Mother's Mother feat. Jally Kebba Sussa
8. Higher Ground
9. Q&A
10. Ancestry
11. Magic
12. Guided feat. Ebi Soda
13. Only Your Love

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PeteStrumentals follows Jay Dee’s Welcome 2 Detroit as the second offering in BBE’s producer spotlight “Beat Generation” series. If you approach Pete Rock’s joint as a song-oriented pop album, you may feel disappointed. Only two tracks (“Cake” and “Nothin’ Lesser – Jamie’s Mix”) feature MCs and the repetitive, consistently mid-tempo beats get somewhat monotonous by the end of most tracks. If you approach the album as a radical work of sonic architecture, you may also feel disappointed, since Rock’s relatively old-school sensibility isn’t likely to make you hear music in a completely new way. But if you approach PeteStrumentals on its own terms — as a laid-back collection of atmospheric beats ideal for late-night chilling or freestyling over — then you may enjoy Pete Rock’s soulful funk-jazz grooves, which are first rate for this type of recording. The deep bass and whispered “play back” vocal sample on “For the People,” jazzy piano loop on “Hip Hopcrisy,” big-band sax on “Smooth Sailing,” layered horns and vibes on “Pete’s Jazz,” and strings on “Give It to Y’all” (as well as the scratching that starts about two minutes into the song) all fit together to form a first-rate instrumental joint. The MC tracks with Rock Marciano, Divine, Godfree, and Laku are located near the end of the album; this makes them seem almost like bonus tracks, or perhaps a late attempt to ensure that the listener hasn’t nodded off, but they still fit fine in the overall flow of PeteStrumentals.

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Wildchild returns with his new BBE released double vinyl & digital album, Child of a Kingsman. Featuring guest artists of the calibre of Keyon Harrold, Aaron Green, Beatslaya, Amber Navran, The Soulyghost, Darus Jones and Nottz amongst its roster of creative contributors, this album is a giant of Hip-Hop, Rhymes and beats that is a must have in any collection of Black Music.

Since returning from his musical hiatus to be a full time father to his son Miles, Jack 'Wildchild' Brown has written and produced a double album of intricate and powerful lyrics laid over tracks that blends Jazz with Neo-Soul and is destined to be a stand-out addition to the global cannon of cross-genre, collaborative blends of rhyme and music.

Wildchild first found his musical home alongside Madlib and DJ Romes in the 90's Hip-Hop band Lootpack and as a band member and solo artist has worked with legends such as Phife Dawg, Common, DJ Scratch and now with the aforementioned Keyon Harrold and other contemporary giants of soul, jazz and Hip-Hop. Wildchild's driving ethos of of uniting cultures through music and dance is absolutely writ large through the 17 track stroke of genius that is Child of a Kingsman.

Child of a Kingsman is released on BBE Music as a double vinyl LP and high quality digital and follows the digital releases of the singles Change For My 2 Cents feat. Keyon Harrold & A-G and the Nottz remixed Season of Kingsmen.

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A soulful rework story – from an edit to an official releasev Berlin’s own Delfonic kicks off a very special series of Roy Ayers reworks with this four-track EP on BBE Music. Originally sparked by a spontaneous edit of “What’s the T?”, which Delfonic shared with BBE’s Pete Adarkwah, the project quickly gained momentum. With listeners asking for a vinyl version, this initial idea soon grew into an official release – and the beginning of a larger tribute.
Drawing from BBE’s 2004 compilation Virgin Ubiquity—a treasure trove of previously unreleased Roy Ayers recordings from 1976 to 1981—Roy Ayers – Delfonic Reworked #1 offers a fresh take on the legendary vibraphonist’s sound, rooted in soul, jazz and groove. The EP opens with Green and Gold, followed by the original spark What’s the T? featuring the incredible Merry Clayton. Also featured are Sugar with Carla Vaughan and Oh What a Lonely Feeling, again showcasing Clayton’s emotive vocals—all reimagined with Delfonic’s signature flair for rhythmic depth and dancefloor flow.
Known for his extensive output of remixes and EPs on respected disco and edit labels, Delfonic brings a deep understanding of groove and arrangement to these respectful yet
forward-thinking versions. His connection to Roy Ayers’ musical universe is evident in every bar. Mastered by Frank Merritt at the Grammy-nominated The Carvery, Roy Ayers – Delfonic
Reworked #1 is available on vinyl and digital download—a must for fans, collectors and groove connoisseurs alike.

Vinyl tracklist:
A1. Green and Gold (Delfonic Rework)
A2. What's The T? (Delfonic Edit)
B1. Sugar (Delfonic Rework)
B2. Oh What A Lonely Feeling (Delfonic Rework)

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Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye. Staying true to the debut album's style of Australian future soul Molasses has an emphasis on poetic storytelling, Natalie's lyrics and melodies that are heard against a lush bed of string arrangements and the influence of Sampology’s soulful but gritty sensibility. As well as her amazing eponymous releases Natalie has also featured on tracks from artists as important and diverse as Posy, Plutonic Lab, Parker and Rhodes and Dojo Cuts among others. Sampology is an innovative producer who, for the past 15 years or so, has been a driving force behind Australia's Hip-Hop, Neo-Soul and Broken Beat/Jazz explosion and has worked with the likes of Ron Trent, Tiana Khasi and Charlie Hill as well as releasing his own tracks. This collaboration between Natalie and Sampology on Molasses is a real high-water mark of music, song-writing and production. Releasing on digital and double vinyl LP, Molasses further chronicles the rising stars of Australia's burgeoning and increasingly important neo-soul and future soul scenes.

Tracklisting

1. My House
2. Adobe Clay
3. Unquenchable Craving
4. Kings and Queens
5. The Lesson
6. Telephone
7. The Other Side
8. As The Stars
9. The Curse
10. Big World

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Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music

BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography. Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit.

A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cast of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series' most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Disc 1:

1. The New Resident
2. All Virtue
3. Blow The Horns On 'Em
4. Blinfold Test #10 (He Don't Play)
5. The Thang-Thang
6. The Plan Pt. 1
7. Tension
8. Heat
9. Smoke Break
10. Gamble On Ya Boy
11. The Plan (Reprise)
12. The Ox (805)

Disc: 2
1. Take That Money
2. Life
3. Parklight
4. Drinks Up!
5. Yo Yo Affair Pt. 1 & 2
6. The Way That I Live
7. Ratrace
8. I Want It Back
9. Go!
10. Disco Dance
11. What It Do
12. Stop


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Impressive Collective & BBE Music announce 'Brighter The Days' – the 9th studio album by Omar - the world renowned UK soul star. This new album continues Omar's long-standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed 'The Man' album and continued with 'Love In Beats' and 'The Omar Anthology'.

Omar Lyefook MBE, singer, composer, and multi-instrumentalist, solidifies his legendary status with his latest album, Brighter The Days. Over three decades, he has been a defining force in modern Black music, crafting a sound that seamlessly blends soul, funk, jazz, salsa, dub, and hip-hop, with roots in classical music. As he puts it, “Each album is an evolution, if you will. But I’d like to think this is my magnum opus.”

A dynamic collection, Brighter The Days builds upon Omar’s distinctive style with fresh inspiration. His warm, unmistakable voice—tinged with the richness of his Caribbean heritage —is complemented by lush arrangements. Organic drums, bass, brass, keys, and guitars meet the mechanical edge of samples and beats, creating a soundscape that is both timeless and innovative. Sweeping strings, inspired by his early training in orchestral music, add grandeur. “There’s nothing quite like that feeling of hearing all those strings play together,” he says, explaining their recurring presence in his work.

As always, Omar has gathered a stellar line up of collaborators. British legends like Paul Weller, arranger Chris Cameron, rapper Giggs and guitarist Tony Remy join forces with American icons including singers India Arie, Ledisi, Eric Roberson and Raheem DeVaughn, organist Ronnie Foster, and rapper Jeru The Damaja. The result is music that is ambitious in conception and flawless in execution.

The electric styles and highlights include There’s Much Love In The World, a hopeful anthem celebrating unity, Research featuring Honey Larochelle, a sexy and funky dance floor heater, and This Thing Called Life, which captures the album’s essence of optimism amidst challenges. Omar explains, “It’s a specific amount of time we have on this earth, so why waste it arguing and fighting? There are so many more things that connect us as opposed to driving us apart.”

In Brighter The Days, Omar reminds us that music and life are about finding light in the darkness. “Music is what I live for, but so too are my children. Brighter The Days just means something better is coming for all of us.”

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Joy Spheres Rees is the coming together of three essential innovators in contemporary music, who have fused their distinct individual sounds into a definitive collaboration for their debut album, ‘Solina’. Allysha Joy, Hidden Spheres and Finn Rees together forged a new sonic landscape which draws on vast inspirations from Balearic House to Street Soul, Alternative RnB and Jazz. This is an album that is conceptually driven from beginning to end, as overarching melodic themes and lyrical mantras weave in and out of hard hitting grooves to create a deeply moving and meditative experience for the listener. Combining Allysha Joy’s potent lyricism, effortless musicianship, unique production & incredible vocals with Hidden Spheres' production values and Djing sensibilities, honed in over a decade's worth of music across different labels, genres, and highly revered releases, alongside the final ingredient of synths, keyboards and skilled musicality of Finn Rees, renowned for his new wave Jazz and dance music output and heavy involvement with acts from the Melbourne/Naarm scene. Personal and poetic, ‘Solina’ speaks to both the intimate and collective desires for connection, through the differing lenses of romance, spirituality, connectivity to nature and the self. It is the culmination of each member's deeply honed skill set, with Hidden Spheres as lead producer, Finn Rees guiding the harmonic synthesis and Allysha Joy’s unmistakable vocal sound, intimately interweaving to create this rich, textural masterpiece ~ a collaborative magnus opus. Solina is released by London's world renowned label BBE Music, with a limited edition gate fold vinyl release this is sure to be a must in the collection.

Tracklisting

1. When Will The Day Come
2. Caught in a Wind
3. Trust the Feeling
4. Promised Me Love
5. Delta Spirit
6. Cave Sands
7. Surrender Love
8. Always Leaving
9. Surrender Love Reprise

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In the last decade, global audiences have increasingly explored Japanese music genres like city pop, rock, and reggae. Central to this resurgence has been BBE Music, known for its acclaimed releases on the J-Jazz and J-Jazz Masterclass Series. Guided by Ken Hidaka in Tokyo, BBE Music has now unearthed a treasure from an unexplored niche: the debut album of Japan's first authentic salsa band, Orquesta Del Sol, titled "Rainbow Love."

The roots of salsa in Japan trace back to Latin music pioneers such as Tadaaki Misago's Tokyo Cuban Boys, who played mambo and rumba post-World War II. However, salsa truly took hold in Japan in the 1970s, catalyzed by the Fania All-Stars' 1977 tour. Among those captivated was percussionist Masahito "Pecker" Hashida. Known for his reggae contributions through albums like "Pecker Power" and "Rasta Instantané Avec L'Effroyable Pecker," Pecker’s influence expanded after experiencing the vibrant salsa scene in New York City in 1977. Upon his return to Japan, he spearheaded the creation of Orquesta Del Sol, marking the inception of the salsa genre in Japan.

Orquesta Del Sol's popularity soared with performances that encompassed both covers and original pieces. The group’s rise was buoyed by Japanese session drummer Shuichi “Ponta” Murakami, whose participation in 1980 elevated their profile and led to a contract with Discomate, an arm of TBS Group. This label also featured artists like Toshiko Akiyoshi and Junko Yagami.

The band’s debut album, "Rainbow Love," was co-produced by Ponta and released in 1981. Apart from a cover of "Rumbambola" by Noro Morales, the album features original compositions performed in Japanese, Spanish, and English. The album cover, illustrated by renowned graphic artist and salsa enthusiast Yosuke Kawamura, mirrored the band’s pioneering spirit.

Masashi Takahashi, a noted Japanese Latin music specialist, observes in the newly commissioned liner notes that Orquesta Del Sol reflects shades of New Music, a genre linked to city pop. Takahashi notes that the musicians, deeply embedded in Tokyo’s vibrant studio scene, naturally gravitated towards creating a uniquely Japanese salsa sound. This sound, heavily inspired by Nuyorican salsa, has endured over the decades, warranting a worldwide reissue.

The reissue of "Rainbow Love" marks its first worldwide release on vinyl and digital formats, supplemented by seven bonus tracks previously only available on a CD reissue named "Legend Vol. 1" from the band's label, Uno Music, in 2000.

The band recorded these tracks some time after the release of their second album, Harajuku Live in the early 80s when they were offered album deals from many record companies. Four of the tracks were covers of songs of some of the favorite salsa artists of the band members that they performed at the time when they first started.

Juan Pachanga is a cover of Fania All-Stars included in the album Rhythm Machine, Campanero is a cover of José Mangual Jr. included in the album Tribute To Chano Pozo, Yo Soy La Rumba is a cover of Machito & His Orchestra included in their album Yo Soy La Rumba! and Duerme is a cover of the band Libre included in the album Con Salsa..Con Ritmo Vol. 2- Tiene Calidad.

All tracks have been remastered, with the original Japanese liner notes now available in English and accompanied by Takahashi's new insights.

The timing of this release dovetails with the growing global interest in historic Japanese music, spotlighting the origins of salsa in Japan. Orquesta Del Sol, whose former members later formed the Grammy-nominated group Orquesta De La Luz, have continued to influence the genre significantly. Their debut album remains a cornerstone, inviting new listeners to experience the innovative fusion of Latin sounds nurtured in Japan.

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past present (tone poems across time)' is Mark de Clive-Lowe's exquisite new solo album and his debut for Greg Boraman's Impressive Collective label in partnership with BBE Music. Previously the pair released the Pharoah Sanders tribute album 'Freedom', and the equally lauded 'Hotel San Claudio' in collaboration with Shigeto & Melanie Charles.

A deeply personal sonic exploration by Mark, "past present" is a reflection on family, heritage, and healing which was created in tandem with retracing his late father’s journey across Japan 70 years ago. The project is a collection of ambient jazz, emotional cinematic soundscapes that weave analog synths with field recordings from Japanese sacred sites and nature locations.

'past present' partially came into existence thanks to the perseverance of producer, percussionist and Mark’s friend Carlos Niño, who after experiencing Mark's multi-layered motifs in the studio and in live contexts over many years explains, "I kept hearing him make an album like this, I kept telling him that he needed to, and that it would be his best album yet. Subtle, poetic, solo, texturally rhythmic, expressive, full of rippling layers, and arrangements representing such profound thoughts, feelings, relationships, and memories".

Mark also took on board Carlos' recommendation of recording the bulk of "past present" at Ken Barrientos’ analog synth studio, 'The Breath' in Pomona, California - where he utilized no less than 22 different keyboards to create the ethereal and engaging soundscapes across all 11 tracks, also intertwining his own field recordings made during a long, explorative stay in Japan.

Being such an individual and personal concept, it was only correct that Mark wrote the extensive album liner notes, to fully illustrate the decades-long backstory to this stunning collection. Mark completes the album's presentation using archive images from his family's private photo collection - an entire process he likens to time travel and signs off to the listener by stating that he hopes "it takes you on your own journey of imagination and reflection, leading to unexpected places, just as it has for me”.

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'Altera Vita' is the first studio album by World renowned multi-award winning artists Tony Kofi (tenor saxophone) and Alina Bzhezhinska (harp) as a duo. The album is saxophone and harp in perfect harmony with Tony and Alina also providing the bulk of the percussion to accompany their recordings. Tony Kofi is widely recognized as one of the leading Jazz saxophonists in the UK and his duties include regularly lending his skills to legendary group Cymande for their live performances. Alina has been heralded as the "New Sound of Europe'' and the duo’s innovative and refreshing approach to recording is apparent on this album. The namesake and inspiration for this album; ‘Altera Vita’ (2023) was named in Downbeat’s jazz albums of 2023, which is very rare for a single release!

'Altera Vita' mirrors the human experience, from conception through to the inevitable end or new beginning. Throughout the journey the appreciation of our environments is paramount, 'Altera Vita' guides us through an intensified refocus on our senses through the medium of sound.

This homage to the ethereal is dedicated to the influential Pharoah Sanders —a lynchpin in the creative and personal lives of Tony & Alina. Sharing a platform during the 2017 EFG London Jazz Festival at the Barbican in a concert honouring Alice & John Coltrane, Pharoah's influence was profound. Riding the wave of inspiration following Pharoah's passing, Tony channeled his gratitude into the creation of 'Altera Vita (for Pharoah Sanders)' (single). With Alina's harmonious harp in counterpoint, a serene musical dialogue was born, echoing the grandeur of Pharoah's legacy. This track released in 2023 to critical acclaim was a major catalyst for the creation of 'Altera Vita' as an album.

'Altera Vita', the album, is a spontaneous response to a world in dire need for a reset. In a reality where billions find themselves hostage to the ‘doom-scroll’, where topics are disproportionately centred on the darker shades of our existence, and where our attempts to foster connection have only yielded deeper factionalism, 'Altera Vita' surfaces as an aural oasis. An audioscape that personifies tranquility, spirituality and peace — abstract concepts essential to the restructuring of our collective consciousness. 'Altera Vita' was designed by Tony & Alina to provide the listener with an opportunity to sit still and be aware.

The heart of 'Altera Vita' took shape during a busy summer schedule over the span of two electrifying days at Fish Factory Studios, London, The synergy between Tony & Alina underpinned these rapid-fire recording sessions. The ebbs and flows, the improvisational dance of saxophone and harp intermingled with the percussive beats also from the pair, with the phenomenal Muriel Grossmann contributing tanpura from her Ibiza base – all demonstrated the effortless energy harvest of a creative partnership seasoned over years of performance and practice. Their achievement is a testament to music as our communal solace and our binder.

Encapsulating the interplay of West African and Eastern European sonic traditions, notably expressed through jazz, Tony Kofi and Alina Bzhezhinska become symbols of our shared human fabric —a powerful reminder that our commonalities vastly overshadow our differences.

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BBE Music is thrilled to present J Jazz: Free and Modern Jazz From Japan 1954-1988, a remarkable large-format book covering some of the deepest, rarest, and most innovative jazz music released anywhere in the post-war era. Compiled by Tony Higgins and Mike Peden, co-curators of BBE Music's acclaimed J Jazz Masterclass Series, the book also features a foreword by Japanese jazz icon, Terumasa Hino.

This is the first time a book of this type has been has been published outside of Japan and the first anywhere of this size and scale. It is a unique collection of over 500 albums of free and modern jazz recorded and released in Japan during a period of radical transformation and constant reinvention. An era that saw Japan return from the ravages of World War Two to become a global economic power and emerge as both a technological leader and an international cultural force.

Through a unique gallery of albums, J Jazz charts the development of jazz in Japan from the first stirrings of the modern jazz scene in the mid to late 1950s and on through the hard bop and modal jazz of the 1960s. It steers the reader into the radical directions of the 1970s when free jazz, fusion, post-bop, and jazz-funk opened up a growing number of Japanese jazz artists to a new global audience before consolidating in the mid to late 1980s with a musical scene that laid the path for the contemporary jazz generation to follow.

Over 500 full-colour sleeves from many of the leading names in Japanese jazz sit alongside rare and private pressings that tell a story of constant change and musical exploration. J Jazz includes profiles of several leading record labels such as East Wind, Frasco, King Records, and Nippon Columbia as well as critical independents such as Three Blind Mice, ALM, and Aketa’s Disk. J Jazz includes interviews with celebrated jazz photographer Tadayuki Naito, and pianist Tohru Aizawa, bandleader on the totemic spiritual jazz album, Tachibana Vol 1, as well as free-jazz record collector and jazz musician Mats Gustafsson.

The book also features a chapter on albums by non-Japanese artists that only received a Japanese release, with collectible, rare, and obscure releases by figures such as Herbie Hancock, Miles Davis, Mal Waldron, Steve Lacy, and Art Blakey. J Jazz includes Japanese jazz charts from some of the world's leading jazz DJs including Gilles Peterson, Toshio Matsuura, Paul Murphy, and Shuya and Yoshihiro Okino. Among the specialist content is a feature on obi strips by record dealer and Japanese jazz expert, Yusuke Ogawa, plus a special article on Japanese Blue Note albums.

Across its 300-plus pages, J Jazz includes a detailed introduction contextualising the music, tracing the story of Japan's fascination with jazz back before the war. It also features biographical information on many of the key artists involved in shaping the post- war Japanese jazz scene including Sadao Watanabe, Toshiko Akiyoshi, Masabumi Kikuchi, Masahiko Togashi, Terumasa Hino, Yosuke Yamashita, Fumio Itabashi, Masayuki Takayanagi, Takeo Moriyama, Isao Suzuki, and many more.

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For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black's timeless two-sider "Who Knows" b/w "Go On Fool" made a few blips upon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington's "Because You're Mine" demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint "It Happened To Me Again" adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul's crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet's "You Can't Blame Me" has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

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Second Pressing, Fanzine is now printed on the innersleeve.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production."

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”

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"Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" – The Needle Drop

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

Single LP in gatefold sleeve with printed insert.

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For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black's timeless two-sider "Who Knows" b/w "Go On Fool" made a few blips upon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington's "Because You're Mine" demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint "It Happened To Me Again" adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul's crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet's "You Can't Blame Me" has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

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re-pressing of this in-demand Moodyman produced classic!

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Mormaço Queima is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. Mormaço Queima has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout.

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, Mormaço Queima is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

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This one was an unexpected treat. Two of our favourite contemporary musicians, Finn Rees & SHOLTO coming together and collaborating on a double dose of celestial, cinematic alchemy.

At Mr Bongo we are massive admirers of drummer, musician, and producer SHOLTO (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years. We’d gotten to know Oscar and sent him a few records. Included in the package was Australian pianist-composer Finn Rees’ debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024.

In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.”

The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet. The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam.

'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer’s, mellotrons, and ribbon mics through Oscar’s ‘70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you’d expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini.

For the beautiful string arrangements, the pair recruited the talents of Sholto's long-time friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.

So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More