MUSIC

Jamaica's national treasure. Legendary Jamaican Jazz.

Internationally acclaimed guitarist Ernest Ranglin with piano genius Leslie Butler in a dazzling quartet. Recorded in 1965.

-

Ernest Ranglin is a guitar player who represents Jamaica as well as one of the forefront personals who took Jamaican music to the world. As an arranger and a musical director, he contributed with his talent in the development of Jamaican music, including Ska and Reggae, from the origins. Musicians who have started their career at the time, still look up to him as a mentor and pay their respects. The internationally acclaimed guitarist Ernest Ranglin is currently pursuing his career without any musical boundaries at the age of over 80.

Coming in October. A groundbreaking compilation album showcasing Japanese techno-pop for a new era—『TECHNO KAYŌ VOL. 1 - JAPANESE TECHNO POP 1981–1989』—compiled by none other than Dubby, one of Japan’s most renowned record diggers and the mastermind behind the influential record shop ONDAS (a key force in the post-obscure revival alongside Organic Music and Revelation Time), and Antal, head of Rush Hour. From the neo-classical/mutant funk gem “Last Battle” by Kazuo Ōtani (of SHOGUN fame), originally featured on the obscure film soundtrack Koiko no Mainichi, to the balearic house anthem “MicroWave” by Kyōko Koizumi—culled from the now-revered cult LP KOIZUMI IN THE HOUSE—this album masterfully weaves post-balearic and obscure city pop perspectives. A curated deep dive into the rich and underrated legacy of Japanese techno-pop, brought vividly to life in the context of 2025.

Reissue of Teresa Bright's 2008 album of hapa-haole jazz, Tropic Rhapsody. Remastered by Jessica Thompson with newly composed liner notes by musician and radio host Bill Wynne.

Only Teresa Bright could have recorded Tropic Rhapsody.

In an era when Hawaiians are retaking the reins of their language--and especially the new generation of musicians who are composing and recording almost strictly in the Hawaiian language--Tropic Rhapsody was a bold move artistically and commercially to make an album of almost entirely hapa-haole material.

From her earliest moments in a recording studio, Teresa Bright was not afraid to have a go at hapa-haole music–not as the novelty it might have been becoming in that period when she debuted (the early 1980s), but as a serious art form. Her first outing, the 1983 album Catching A Wave with then partner Steve Mai‘i, featured such hapa-haole staples as “My Little Grass Shack” and “Sadie, The South Seas Lady,” and even the oft-maligned “Yacka Hickey Hula” which she tackled with the seriousness of a heart attack. Steve & Teresa would go on to record three albums--all of which are considered collector’s items today because they contain some classic tunes including the exceedingly popular “Uwehe, ‘Ami, and Slide,” Teresa’s wildly successful attempt at composing a modern hapa-haole song which would go on to take the coveted prize for “Song of the Year” at the 1988 Na Hoku Hanohano Awards and which remains a staple on local Honolulu radio nearly four decades later.

Twenty-five years into her recording career Teresa flipped the script and gifted the world with Tropic Rhapsody–an album of primarily hapa-haole tunes with just a smattering of Hawaiian language numbers. Among its many definitions, a rhapsody is a type of music. One source characterizes a “rhapsody” as “featuring a range of highly contrasted moods, color, and tonality” and “an air of spontaneous inspiration and a sense of improvisation.” In these respects Tropic Rhapsody lives up to its title. At the time of its release in 2008, Tropic Rhapsody boasted a roster of mostly hapa-haole tunes (and only three Hawaiian-language compositions - but all classics that are right at home in this collection). Working with arranger Kit Ebersbach, Bright crafted a collection that reflects her adventurous musical spirit. From the opening strains of “Lei of Stars,” the strings glistening and cascading around Teresa’s voice like the very lei of which she sings, you just know this album is going to be special. They chose Latin-themed treatments for such classics as “Silhouette Hula,” “Blue Hawaii,” and “Sweet Leilani.” Then they surprise us with a “Kaimana Hila” in 3/4 time. Cuba meets Hawai‘i as we delight in the rhumba rhythms of a hapa-haole rarity, “On A Tropic Night.” They pick up the tempo with a samba treatment of “Pagan Love Song,” but more delightful than this is that Teresa Bright sweetly harmonizes with herself (the only thing better than one Teresa Bright being two or three). And she closes with “Aloha ‘Oe,” an all too sad reminder that Teresa left this earthly plane in September 2024.

While she may have been a jazzer at heart, Teresa’s heart was first and foremost Hawaiian. To those unfamiliar with Hawaiian music, Tropic Rhapsody could be considered a jazz album. It would be right at home on the shelf next to Astrud Gilberto or Diana Krall. But because the romantic lyrics speak of the moon and the stars and evoke tradewinds and palm trees, and because of Teresa’s ever respectful approach to the material, it is also uniquely Hawaiian and deserves its place in the pantheon of classic hapa-haole recordings. A modern classic. Just like Teresa herself.

From the 2025 reissue liner notes, written by Bill Wynne.

Haruomi Hosono's Tropical Dandy receives its first-ever international reissue. Originally released in 1975, Tropical Dandy is a cult classic that marked Hosono’s shift toward genre-blending, fusing exotica, jazz, and pop to lay the groundwork for Japanese City Pop – described by none other than Van Dyke Parks as "cinematic romance with sonic texture."

Classic black and limited edition Ocean Blue. 180-gram vinyl, pressed in the US featuring exclusive OBI and a new translation of Haruomi Hosono's 1975 liner notes.

First released in 1964 under the expert production of Blackwell for Island Records, this remarkable album captures the essence of Jamaican soulful jazz through the extraordinary talent of Ernest Ranglin. As a pioneering guitarist and composer, Ranglin delivers an impeccable performance that blends the rich traditions of jazz with the vibrant rhythms of Jamaica.

Accompanied by a highly swinging rhythm section, featuring Malcolm Cecil on bass and Alan Ganley on drums, the album explores a captivating variety of moods and tempos. Ranglin seamlessly moves through fast-paced, catchy numbers, mid-tempo grooves, and heartfelt ballads, showcasing his versatility and masterful command of his instrument. The inclusion of subtle Latin flavors adds an additional layer of warmth and rhythmic complexity, making this collection a true sonic journey.

This release not only highlights Ranglin’s unique sound but also serves as a testament to the innovative spirit of Island Records during the 1960s. Jazz aficionados and new listeners alike will find themselves immersed in the timeless appeal of this record, which continues to inspire musicians and music lovers around the world.

Rediscover the soulful melodies and infectious rhythms of Ernest Ranglin’s work with this exceptional album—a jewel of Jamaican jazz history that remains as fresh and captivating today as it was over half a century ago.

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany made significant noise in 2024 when French film Anatomy of a Fall won an Academy Award for best original screenplay. Bacao’s cover of 50 Cent’s “PIMP” was featured so heavily in the film and plays such a huge role in the storyline that it became synonymous with its success. Subsequently, they ushered in the first appearance of steel pans in the orchestra pit at the Academy Awards so they could play the tune as director Justine Triet walked on stage to accept the award. All of this brought a lot of new fans to Bacao and pushed the streaming numbers of “PIMP” well past 40 million. For those in the know, this tune made its way into underground fame back in 2008 when it was first pressed on band leader Bjorn Wagner’s own Mocambo imprint and was often mistaken for the original sample source from which 50 made his hit. All accolades and international fame aside, “PIMP” is literally just the tip of the Bacao iceberg. With four full length albums and a tall stack of 7” singles that have become staples to DJs around the world, they have been prolific since signing with Big Crown in 2014. Despite the constant releases and elaborate catalog, every recording session has borne more fruit than could fit on an album, leaving a handful of tunes in the recording vault. Here on Big Crown Vaults Vol. 4 we open up that vault and give all (well, most of) those tunes a proper pressing and release. The album opens up with their cover of the Bob James uber-classic breakbeat “Nautilus” and they put a spin on the original that puts it directly in the must have category for all hip hop and breakbeat enthusiasts. Keeping their foot on the gas, they give the BRSB treatment to the Khruangbin classic “Maria También” with their signature bottom heavy drums taking the energy of the tune to a whole new place. Infamous for digging deep in the crates when picking material to reinterpret, they next take on Royce the 5’9”'s J Dilla produced “Let’s Grow”. Originally the B side to the first pressing of “PIMP” (and making an appearance on the very limited first 2LP pressing of their debut album 55) we put the “PIMP (Version)” on here where they give their original recording the proper dub treatment with melodica and tape echo galore. They turn up the tempo and the funk covering the Jackson 5’s “Great To Be Here” and again dive deep into obscurity with the Billy Jones dancefloor burner “Lookout Baby (Here I Come)”. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they are going to take on, it is equally intriguing to see what original tunes they’ve cooked up. While BCR Vaults Vol. 4 only has one original, “Kaiso Noir”, it’s an uptempo crowd-pleaser that sounds like a mix between a b-boy break and a James Bond score. This collection of songs spans from 2008 to 2023 and runs a variety of genres from hip hop to jazz to soul and pop through the Bacao lens. The band is already at work on their 5th full length studio album and this compilation should be the perfect thing to hold fans over until it arrives.

Can you believe it? Devendra Banhart's Cripple Crow - originally released by XL in 2005 - is turning 20 years old. This was the 5th album from the Venezuelan American artist who is considered the pioneer of the "Freak Folk" and "New Weird America" movements. To celebrate - Devendra has compiled a reissue of the out of print release that features a 3rd Bonus LP (on Clear Green Smoke!) featuring 9 bonus tracks, including 1 B-Side, 5 previously unreleased demos, 2 previously unreleased live tracks, and 1 unearthed smash hit from the recording sessions. This release is the first on his newly created Heavy Flowers label.The album received a "Best New Music" 8.4 review from Pitchfork upon its release. The release date will fall 1 day prior to the actual 20th Anniversary, which will be the first time Devendra is early for anything. Now THAT is something to celebrate!

大人気ユニット、Salamandaの片翼！韓国・ソウルを拠点に活動するプロデューサー／DJ、Yetsubyによる最新アルバム『4EVA』が、UK新興レーベル〈Pink Oyster〉の第1弾として登場。ブレイクビーツ、フットワーク、ジャングル、IDM、アンビエント、クラブ・ミュージックを自在に横断しながら、デジタル／アナログ／アコースティックの音響を緻密に編み上げた全10曲。遊び心溢れるサウンド・デザインと、内省的かつ親密なムードが共存する、Yetsubyのソロ作品として極めて完成度の高い一枚です。限定300部。

FJLP-05 continues with Forest Jams recent trend of Japanese re-issues from the 90’s. This one is E.S. Island’s “Southwind from Hachijo” a deep ambient exploration that is more tribal and spiritual than prior E.S. Island releases. This was recorded on Hachijo Island featuring several traditional instruments with the bulk of the music being played by Eisuke Takahashi (R.I.P.) and Nene Sanae. Limited copies.

The Rising Wave marks the debut collaboration between singer-songwriter Marlene Ribeiro (of psychedelic band GNOD) and electronic producer Shackleton under the name Light-Space Modulator. The album will be released via AD 93 on the 25th April 2025.

Ribeiro’s ethereal voice—part singing, part incantation—feels both distant and intimate, humming just behind the horizon. Her experimental soundscapes flow like a streamlined river, intertwining seamlessly with Shackleton’s deep, textural production and intricate percussion. Shackleton’s percussive production ebbs and swells, conjuring a hypnotic, tripped-out atmosphere. At The Rising Wave’s core lies a sense of intention, a cleansing ritual designed to shift perception and inspire transformation.