Jazz / Soul / Funk
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The Beaters – Harari was released in 1975. After changing their name, Harari went into the studio late in 1976 to record their follow-up, Rufaro / Happiness. In 1976 they were voted South Africa’s top instrumental group and were in high demand at concert venues across the country.
Comprising former schoolmates guitarist and singer Selby Ntuli, bassist Alec Khaoli, lead guitarist Monty Ndimande and drummer Sipho Mabuse, the group had come a long way from playing American-styled instrumental soul in the late sixties to delivering two Afro-rock masterpieces.
Before these two albums the Beaters had been disciples of ‘Soweto Soul’ – an explosion of township bands drawing on American soul and inspired by the assertive image of Stax and Motown’s Black artists. The Beaters supported Percy Sledge on his 1970 South African tour (and later Timmy Thomas, Brook Benton and Wilson Pickett). But their watershed moment was their three month tour of Zimbabwe (then Rhodesia) where they were inspired by the strengthening independence struggle and musicians such as Thomas Mapfumo who were turning to African influences. On their return, the neat Nehru jackets that had been the band’s earliest stage wear were replaced by dashikis and Afros.
“In Harari we rediscovered our African-ness, the infectious rhythms and music of the continent. We came back home inspired! We were overhauling ourselves into dashiki-clad musicians who were Black Power saluting and so on.” Sipho Hotstix Mabuse, talking of the band’s time spent on tour in the (then) Rhodesian township from where they took their name. As well as expressing confident African politics, Alec Khaoli recalled, they pioneered by demonstrating that such messages could also be carried by “...happy music. During apartheid times we made people laugh and dance when things weren’t looking good.”
The two albums capture the band on the cusp of this transition. One the first album Harari, Inhlupeko Iphelile, Push It On and Thiba Kamoo immediately signal the new Afro-centric fusion of rock, funk and indigenous influences. Amercian soul pop is not forgotten with Love, Love, Love and, helped along by Kippie Moeketsi and Pat Matshikiza a bump-jive workout What’s Happening concludes the album. The second album Rufaro pushes the African identity and fusion further, with key tracks Oya Kai (Where are you going?), Musikana and Uzulu whilst the more pop-styled Rufaro and Afro-Gas point to where Harari were headed to in years to come. The popularity and sales generated by these two classic albums saw them signed by Gallo and release just two more albums with the original line-up before the untimely death of Selby Ntuli in 1978. Whilst they went on to greater success, even landing a song in the US Billboard Disco Hot 100 in 1982, it was never the same again.
“Harari’s music still speaks directly to one of my goals as a younger artist: to express myself as an African without pretending that I don’t have all these other musical elements – classical, jazz, house – inside me.” (Thandi Ntuli, niece of Selby Ntuli).
Another killer release on Numero, and another killer package. Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity. + Jackets are patterned with alchemy and astrology symbols + Fold-out maze of gold foil and metallic ink + Origami sleeve transforms into magnetic pyramid sculpture P-Funk and Prince & the Revolution led the world through the last stellar evolutionary stages of soul music as it was transmogrified through the pulverizing lens of the 1980s, when African-American culture gave way to an advanced African-Interplanetary civilizations. Self-actualized artists and visionaries followed, reflecting and refracting their own interpretations as if translated by Samuel Delaney or Octavia Butler. This unwieldily titled collection documents ten successful experiments in privately-issued scifi soul music, lonely transmissions from a planet in a state of cultural fugue. Packaged in a one-way portal to the further limits of expression. Some assembly required.
A1 E. Willey Von Huff-N-Puff - Just Wish You Were Here
A2 Walter Hawkins - Metropolis
A3 Same Womb - Alibi Eyes
A4 Cause And Effect - You Make Me Feel Brand New
A5 Candle Tribe - Candles
B1 T. Dyson & Company - First Time
B2 LaRhonda LeGette - Now You Sit Alone
B3 Iron Force - Stay
B4 Errol Stubbs - Spaced Out On Your Love
B5 Severed - Real Life
Co-produced with Carlos Niño and scoring a 7.5 on Pitchfork, Jamael Dean is a prodigious 20-year-old jazz pianist and producer who has collaborated and performed with Kamasi Washington, Thundercat and Carlos Niño. Jamael Dean's debut album is out now on the prestigious Stones Throw label. Influenced by his grandfather, the legendary soul-jazz drummer Donald Dean, as well as Sun Ra, Alice Coltrane, and Herbie Hancock, Dean is one of the most sought-after artists of the new generation. From the ethereal horn section, to the kaleidoscopic piano, to the chill-out microcosmic collage of sound, the vibes are tremendous. A chaotic cosmic soul-jazz masterpiece that mixes beat music, hip-hop, ambient and electronica. This is a masterpiece of chaotic cosmic soul jazz that mixes contemporary jazz, beat music, and experimental music, reaching out to listeners of many genres!
The Beaters – Harari was released in 1975. After changing their name, Harari went into the studio late in 1976 to record their follow-up, Rufaro / Happiness. In 1976 they were voted South Africa’s top instrumental group and were in high demand at concert venues across the country.
Comprising former schoolmates guitarist and singer Selby Ntuli, bassist Alec Khaoli, lead guitarist Monty Ndimande and drummer Sipho Mabuse, the group had come a long way from playing American-styled instrumental soul in the late sixties to delivering two Afro-rock masterpieces.
Before these two albums the Beaters had been disciples of ‘Soweto Soul’ – an explosion of township bands drawing on American soul and inspired by the assertive image of Stax and Motown’s Black artists. The Beaters supported Percy Sledge on his 1970 South African tour (and later Timmy Thomas, Brook Benton and Wilson Pickett). But their watershed moment was their three month tour of Zimbabwe (then Rhodesia) where they were inspired by the strengthening independence struggle and musicians such as Thomas Mapfumo who were turning to African influences. On their return, the neat Nehru jackets that had been the band’s earliest stage wear were replaced by dashikis and Afros.
“In Harari we rediscovered our African-ness, the infectious rhythms and music of the continent. We came back home inspired! We were overhauling ourselves into dashiki-clad musicians who were Black Power saluting and so on.” Sipho Hotstix Mabuse, talking of the band’s time spent on tour in the (then) Rhodesian township from where they took their name. As well as expressing confident African politics, Alec Khaoli recalled, they pioneered by demonstrating that such messages could also be carried by “...happy music. During apartheid times we made people laugh and dance when things weren’t looking good.”
The two albums capture the band on the cusp of this transition. One the first album Harari, Inhlupeko Iphelile, Push It On and Thiba Kamoo immediately signal the new Afro-centric fusion of rock, funk and indigenous influences. Amercian soul pop is not forgotten with Love, Love, Love and, helped along by Kippie Moeketsi and Pat Matshikiza a bump-jive workout What’s Happening concludes the album. The second album Rufaro pushes the African identity and fusion further, with key tracks Oya Kai (Where are you going?), Musikana and Uzulu whilst the more pop-styled Rufaro and Afro-Gas point to where Harari were headed to in years to come. The popularity and sales generated by these two classic albums saw them signed by Gallo and release just two more albums with the original line-up before the untimely death of Selby Ntuli in 1978. Whilst they went on to greater success, even landing a song in the US Billboard Disco Hot 100 in 1982, it was never the same again.
“Harari’s music still speaks directly to one of my goals as a younger artist: to express myself as an African without pretending that I don’t have all these other musical elements – classical, jazz, house – inside me.” (Thandi Ntuli, niece of Selby Ntuli).
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format, these days. Hozan Yamamoto was recognised as a "living national treasure" by the Japanese government in 2002. This highly sought-after album from the Japanese wood flute player is more upbeat and swinging than some of his other records. The big band he recorded this album with (Sharps & Flats) played a big part in the genesis of the album’s groove. Forming in 1951, they helped to make jazz popular in Japan after World War II. Yamamoto's flute lines weave over the heavy brass sound and groove, creating an MPS label blending of funky jazz and Japanese vibes. The closest comparison would be Dorothy Ashby's grooviest albums for Chess / Cadet – substituting Yamamoto’s flute for the harp. Licensed courtesy of Universal Music Group Limited.
The album includes "Pan Afro," a modern Afro-jazz masterpiece, and "Discipline 27-II," one of Sun Ra's best songs, which features Sun Ra at the center of a floating Saturn circle, delivering words to the people of this world from there. Especially the title track "Discipline 27-II" is one of the songs that fans cannot ignore. This is a great album with great artwork.
