MUSIC

During his time with the Yosuke Yamashita Trio, he poured his heart and soul into every single note. In the early 1970s, he wove flashes of inspiration and impulse into his melodies, blowing with powerful intensity. And now, on this album, Seiichi Nakamura undergoes yet another transformation. As he himself says, “It’s the feeling of sharing a space together and soaring freely like a bird. That’s the ideal,” the overlapping sounds and pauses richly expand the space, through which Nakamura’s saxophone dashes with exuberance. The expansive and exhilarating “Wolf’s Theme,” inspired by author Kazumasa Hirai’s “Wolf Guy” series, “Harappa,” where a nostalgic melody shines against a laid-back groove; “Body & Soul” and “I Can’t Get Started,” which weave together standards with care and elegance; and “Viva Giappone,” with its delightful sense of dynamism and openness—here, Nakamura’s ideal is magnificently realized. Featuring Toshiyuki Daitoku, Aki Takase, and Ryojiro Furusawa.

A landmark debut released in 1976, Jaco Pastorius’s first solo album forever changed the history of the electric bass. Featuring an all‑star lineup including Herbie Hancock, Michael Brecker, David Sanborn, and Don Alias, it remains a timeless masterpiece that continues to be regarded as the ultimate bass bible.

〈Honest Jon's〉が60年代に南米エクアドル・キトで活動していた知られざるスイートスポット的レーベル〈Caife〉に残された魅力的なカタログを紐解いたシリーズから新たな発掘音源が登場！アフリカ先住民の伝統と豊かな音楽の伝統が融合した、エクアドル北端エスメラルダス州のユニークなアフリカ系エクアドル文化の素晴らしい記録を収めたアルバム『Juyungo』がアナログ・リリース。マリンバを中心に、コール&レスポンスのチャント、アンデスのギターのフィンガースタイル、パンパイプなどによる深い没入感に溢れる音楽作品を余すところなく収録。ゲートフォールド・スリーヴ仕様。洞察に満ちたメモと貴重写真が満載のブックレット(16ページ)が付属。

Space funk from keyboardist Dexter Wansel, originally released in 1976. Sampled by DJ Shadow.

NooPop Records proudly presents 'Naissoo Freeform Quintet,' led by keyboard maestro Tõnu Naissoo.

Recorded in Tallinn during two electrifying, improvisational sessions in July 2024, this LP captures the infectious energy of funk, the adventurous spirit of free jazz, and infused with a nostalgic nod to the psychedelic era.

This album is a celebration of dynamic percussive rhythms and exploratory sound of Bass Clarinet, Rhodes, Moog Source and ARP Odyssey, offering a unique blend of past and future musical influences.

Whether you're a jazz aficionado, a groove enthusiast, or simply a lover of innovative music, "Naissoo Freeform Quintet" is an essential addition to your collection. Join us on this cosmic expedition and discover the infinite possibilities of sound that await in the astral realms of plate reverb and tape delay.

"Naissoo Freeform Quintet" is a rare gem for collectors and music lovers alike. Grab yours before it’s gone and embark on this stellar journey!

A long-lost masterpiece of European dancefloor jazz returns. Originally released in 1981 on Germany’s Stockfisch label and long overlooked, Mr. Circle’s Thi Nam is finally reissued. Led by keyboardist Mikesch van Grümmer and featuring vocalist Monica Linges, the album brims with Latin and Brazilian inflections, delivering a radiant slice of dancefloor-oriented jazz fusion. Its rhythms carry the heat of samba and pan-Latin grooves while evoking the buoyant fusion spirit of Roy Ayers or the Mighty Ryeders. From the sun-soaked brilliance of “Schoch-Schach” and the tension-filled, expansive “Suka”, to the driving “Juntos” and the irresistibly funky title track, every cut shines with vivid, dazzling energy. Fully remastered from the original tapes at Abbey Road, this is the definitive reissue of a hidden European jazz gem.

Isle of Jura presents ‘Archipelago – Cosmic Fusion Gems from France (1978–1988)’, a deep dive into overlooked corners of the French musical landscape, compiled by French digger and DJ Arnaud Simetiére aka Switch Groove.

Drawn from years of early-morning flea market hunts and second-hand record store hauls, Archipelago unearths a hidden layer of French music that maps an alternate France including music from Francis Bebey, Cécilia Angeles, Carla Music Orchestra and a Dub remix from Dennis Bovell.

From the French Caribbean to the outer suburbs of Paris during the ‘Sono Mondiale’ era, these tracks capture a time when musicians embraced new freedoms and electronic tools—synthesizers, drum machines, home studios—to create boundary-blurring, genre-defying music. The result is a cosmic, hybrid sound that’s both distinctly French and radically global.

“These records shaped a new map of French music for me,” explains Switch Groove. “They’re treasures that emerged not from the mainstream, but from the crates—lost in plain sight, waiting to be found.” Archipelago is an invitation to explore that map: a crate-digger’s dreamscape of fusion, funk, and far-out frequencies from 1978 to 1988. The album also includes two Ambient soundscape tools.

Production and Co-licensing by Kevin Griffiths. Pressed on 180g Heavyweight Vinyl with full sleeve jacket design by Bradley Pinkerton.

PLEASE NOTE THE DIGITAL DOWNLOAD OF THIS ALBUM DOES NOT CONTAIN CARLA MUSIC ORCHESTRA DUE TO LICENSING RESTRICTIONS.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas—was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness,” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again,” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset.” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead,” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

Shay Hazan radiates with musical diversity on 'Wusul وصول', His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album, 'Wusul وصو’. This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences. Hazan's debut solo album for Batov Records, 'Reclusive Ritual,' unveiled a fresh musical realm. It introduced the guimbri, a three-stringed camel-skin-covered bass plucked lute used by the Gnawa people of Morocco, to a landscape of jazzy horns, synths, and laid-back hip-hop beats. The album garnered support on BBC 6 Radio Music and earned Hazan a mix on the Huey Show. With over two four-star reviews, Songlines magazine dubbed it "groovy," while Mojo magazine described it as "hypnotic." 'Wusul وصول' builds on this legacy, offering a broader sonic palette, enhanced organic instrumentation, a lighter atmosphere, and elevated production values. The album's enigmatic title, 'Wusul' (Arabic for 'arrival'), celebrates the expected birth of Hazan’s first born child, expected to arrive around the same time as this album. Fitting, given that the latter is the result of a transformative phase in Hazan's career, with many of the album’s songs evolving and taking shape during live performances. Most notably, a majority of the musicians featured on 'Wusul وصول' are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable. Standout track, “Sunflowers”, featuring the exceptional Nitai Hershkovits on keys, showcases Hazan's prowess on guimbri, guitar, percussions, and synths. This mesmerising composition, recorded by Hazan himself, seamlessly weaves together a diverse array of musical elements, resulting in an uplifting and danceable masterpiece. On “A Walk In Dir El-Assad”, Hazan invites listeners with him to the small Arabic village of El-Assad, where at night the air is full of sounds of music emanating from multiple weddings. Over a cacophony of percussion, live drums from Shahar Haziza, and Hazan’s earthy guimbri-led basslines and gritty guitar, Eyal Netzer and tenor sax and Roy Zuzovsky trade solos and harmonise over the melody. Delivering one of the heaviest grooves on the album, “Vibe jadid” commences with the distinctive percussive sound of krakebs, large iron castanet-like musical instruments, primarily known for supplying the rhythmic aspect of Moroccan Gnawa music, before the earthy guimbri bassline hits, accompanied by a half time hip-hop-like kick drum and clap. Triumphant horns ring out the anthemic melody, offset by otherworldly synths. Shay Hazan's creative process reveals a cross-cultural narrative influenced by his extensive travels, from Central America to Japan, where he encountered the rich tradition of Gnawa musicians in Tel Aviv. The album includes a fascinating tune named “Shimo Kitazawa”, inspired by a Tokyo neighbourhood, as well as other tracks infused with the global vibes that have touched his musical soul. Dedicated compositions like “Dew” and 'Yooltz” pay homage to the friends and musicians who helped shape this album. Opener “Dew” is a nod to trumpeter Tal Avraham, who contributes a hypnotising solo. “Yooltz” is a loving tribute to tenor saxophonist Eyal Netzer, who contributes a soulful solo to the song, adding a distinctive layer of brilliance to the album. The Afrobeat leaning “Oladipo”, on the other hand, is dedicated to the late great drummer, musical director of Fela Kuti's band legendary Africa '70, and pioneer of the sound, Tony Allen. Hazan utilises synths to create an eerie atmosphere on “Street Souls”, inspired by the characters who frequently inhabit the streets around Hazan's studio, sharing insightful comments from time-to-time. The slim wall of separation, provided by his machines and studio walls, from the junkies and prostitutes outside is emblematic of the slim divide between his privileged existence and theirs. This urban tension continues on album closer “Riff Raff”, taps into the tumultuous undercurrents of social movements and demonstrations, injecting a sense of urgency into the album's diverse tapestry, with its jolting groove. Shay Hazan's journey continues as he embarks on a series of international performances, including the Jazz Jantar Festival in Dansk, Poland, and the Tel Aviv Jazz Festival. He has recently captivated audiences at the prestigious Jazz in the Park Festival in Romania and the Jerusalem Jazz Festival. His music transcends borders, uniting listeners worldwide in a vibrant celebration of sound and culture. 'Wusul وصول' is an introspective journey through the intricate tapestry of musical influences that have shaped Shay Hazan's unique sound. While Western and Mizrahi pop have left their marks on the record, they serve as threads

A rare best-of album featuring unreleased tracks from 1973 to 1984 by the genius guitarist Akio Niitsu is now available on LP. The album features a wide range of works, from the production process of the masterpiece “I/o” (1978), through the period of creating background music for Muji, to demo recordings from the ‘PETSTEP’ (1982) and “Winter Wonderland” (1985) eras. The innovative soundscapes created through double-speed guitar and multi-track recording continue to receive worldwide acclaim. Through the 12 tracks on Side A and Side B, listeners can experience Shinji Akiyama's experimental and ambient musical world. Influenced by J.S. Bach and Jimi Hendrix, his creative approach, which established his unique musical style, is beautifully expressed in this collection. 300 grams vinyl, this album is an important record in music history and is recommended not only for fans but also for listeners interested in experimental music.

"Crossover City – Misty Morning" is a curated compilation of Japanese jazz fusion and crossover gems from the 1970s and 1980s. Featuring artists like Terumasa Hino and Sadao Watanabe, it captures the smooth, urban soundscapes of a golden era. A must-listen for fans of city pop and sophisticated grooves.

One is the first solo album, and third album overall, by jazz keyboardist Bob James. It was an important album in the early smooth jazz genre and is famous for its end track, "Nautilus", which became important to hip hop as one of the most sampled tracks in American music.

Victory present a reissue of Haruomi Hosono, Takahiko Ishikawa, and Masataka Matsutoya's The Aegean Sea originally released in 1979. The album is somewhat of a companion piece to the previous year's Pacific (V 25AH426). A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it's one of Hosono's cleanest and most focused works to date. Long sought-after by collectors, this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono's seemingly infinite catalog. Essential Japanese jazz fusion.

WRWTFWW Records is extremely happy to present the official reissue of Safari's self-titled album from 1984. The Japanese jazz-fusion super gem is available now as a limited-edition transparent vinyl LP housed in a heavyweight sleeve with obi.

Originally released on fabled label VAP, Safari is a one-of-a-kind city pop-adjacent summer blend of AOR, smooth jazz, and sun-drenched boogie. The sole album from the all-star outfit was the brainchild of keyboardist Toshiyuki Daitoku and Japan-based Californian jazz-funk-latin-fusion bassist Gregg Lee. Together with a large team of experienced musicians, they created a lush, immaculately-arranged 8-track cruise filled with poolside grooves, breezy rhythms, and feel-good vocal harmonies.

Safari features the well-known title track which acted as the theme song for an 80s sports program on Fuji Television, the night-swim chill music tune "All Right in The Night", and the fan-favorite buoyant vacation hit "The Morning After". The official reissue is fully licensed and sourced from the original masters, with an audiophile cut by Sidney Meyer at Emil Berliner Studios, ensuring the warm, pristine sound this lost treasure deserves.

Safari is the second release from WRWTFWW's City Pop Series, following Momoko Kikuchi's beach classic Ocean Side, also available on transparent vinyl LP. The series, complete with a visual identity designed by Lopetz/Büro Destruct, also comes with a limited merch capsule, and more sun-soaked gems lined up for the future.

Soul Media, led by Jiro Inagaki, played a pivotal role in the development of jazz rock in Japan. This album, “Memory Lane,” recorded in 1980, is their final release under that name. Inagaki commented on this work, saying, “We created this album while anticipating the future of fusion music.” Indeed, the sound is completely distinct from the typical fusion genre. The mellow and emotional “Memory Lane,” the stormy yet refreshing “I Will Give You Samba,” and the groovy and edgy “Take My Hand.” The sound created alongside his close friend Ken'ichi Maeda, looking toward the future, boasts an extraordinary level of perfection in every aspect—the songs, arrangements, and performances. It remains a fresh and vibrant masterpiece even when listened to today.

Text by Yūsuke Ogawa (UNIVERSOUNDS/DEEP JAZZ REALITY)

Soundtrack of the late seventies, early eighties with particular attention to vintage instrumentation and the hard and pure approach that distinguishes the elegance and refinement of this composer, musician, able to make us relive echoes of the past while remaining comfortably seated on the sofa of our home. Alberto Bazzoli amazes with this new test. There are elements of great importance in Missori, a set of tracks that become a dedication to the city of Milan. An album that is a sort of introspective concept capable of narrating, musically, the events of an ordinary employee in the gray city of northern Italy. An album from which you can perceive an underlying melancholy perpetuated through moments of great class, where the taste for the past comes out in all its splendor. Alberto Bazzoli, founder of the label L’amor mio non muore and keyboardist on Baustelle’s latest tour, delivers to listeners an Italian cross-section of rare beauty where all the elements in the field are essential parts of a whole that smells of emotional amarcord capable of finding, in the lost, the key to understanding the modern complexity of living.<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=1619206400/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://albertobazzolimusica.bandcamp.com/album/missori">MISSORI by Alberto Bazzoli</a></iframe>

Amsterdam-based bass player and producer kotokid's music is a middle ground between alternative R&B and hip-hop, and 80s jazz fusion. Bringing together live drums and drum computers, sequenced analog synths and lush guitar chords and solos, and heavy synth basses alternated with pulsating bass guitar grooves. The result: a wall of sound, with the dynamics and energy of a live fusion band.

Following the success of the 'Tokyo Glow' and 'Funk Tide' sets, Wewantsounds once again teams up with Tokyo-based DJ Notoya for a breezy selection of Funk and Boogie recorded in Japan for King Records in the 70s and 80s. Most tracks here are making their debut on vinyl outside of Japan and the album, like its predecessors, has been designed by Optigram's Manuel Sepulveda and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by King Records and remastered for vinyl by Colorsound in Paris.

- New Addition in the Wewantsounds Japanese Music Compilation series
- Compiled and annotated in Tokyo by DJ Notoya
- Unique access to King Records' vault
- Most tracks Making their Debut Outside of Japan
- Artwork by Optigram's Manuel Sepulveda

Tracklist
A1 BUZZ - Garasumado ガラス窓 2.35 (1974)
A2 Mami Ayukawa - Sabita Gambler 錆びたギャンブラー 3.53 (1987)
A3 Johnny Yoshinaga - The Rain 雨 5.47 (1978)
A4 Keiko Toda – Fade In 溶明 4.15 (1983)
A5 Koji Kobayashi - Bokura no Date 僕らのデート 3.08 (1978)

B6 Yuko Imai – Hotel Twilight 4.49 (1988)
B7 Kumiko Sawada – Your Love’s Away ユア・ラブズ・アウェイ 4.23 (1979)
B8 Masatoshi Kanno - Day By Day デイ・バイ・デイ 3.32 (1976)
B9 Yuji Mitsuya – After Five At Café-Bar 4.49 (1984)
B10 Fujimaru Band - Paper machine 2.29 (1977)

Most of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. Sam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. Eight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. The resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. Atop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. Sam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.

Absolute collectors item, the culmination of wildly unexpected trajectories in music, originally released in 1980, this is Japan meets Jamaica at its finnest. Pecker (aka Hashida Masahito) takes the Japanese "Otaku" consumer behavioural phenomenon and directs it towards deep world percussion knowledge, teaming up with legendary Minako Yoshida for vocals and lyrics, Sly & Robbie and Vitamin Dread (aka Aki Ikuta) with other heavyweight names sprinkled on top like Augustus Pablo and Carly Barrett...and this is the result: three tracks of pioneering "Japanaican" sound. A truly international effort, recording and mixing between Jamaica's Studio One and Tuff Gong studios, and, Japanese Columbia and Sony studios. B2 features a beautifuly dreamy rendition of Ryuichi Sakamoto's "Kylyn", remastered and re-released in original 10" format.

Be With Records present the first ever official reissue of Kimiko Kasai with Herbie Hancock's Butterfly, originally released in 1979. The positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie, and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin, and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie/Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years. The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story", and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As". This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece.

One of the most representative works of their career, this album contains 7 tracks recorded at the "best performance" in a hall recording. This is a masterpiece that will remain in the history of Japanese fusion music, and was selected as one of the best albums of 1982 by both ADLIB and JAZZLIFE magazines. Cutting by Bernie Grundman. Repressed on clear green vinyl!

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality.

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible. The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate. 

Recorded in December 1976, Hear And Now was produced by drummer / keyboardist Narada Michael Walden (ex-member and session man for Journey, Mahavishnu Orchestra, Weather Report). The album – licensed by major label Atlantic – has been often dismissed by jazz purist and early days Cherry fans as a commercial effort. To be true it is a record that epitomize the ‘club’ tendencies discovered in the second half of the decade by many jazz and fusion artists. Led by the incredible ‘world’ rare groove of Universal Mother, the album is to be rediscovered in a different light.