BBE Music News

In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem. In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

The apartheid boycott In the 80s, the world – rightly - stepped up its boycott against South Africa’s apartheid government. But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers. Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk. Unique diversity Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases. But what makes Mzansi 80s popular music unique is that it had to – and for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size. There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone..and so on. And everyone- detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description. Mzansi took disco- and slowed it down a bit.. ..exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later – Amapiano. The Roland TR-707 sampler came along in 1985- at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa. 'Yebo! Rare Mzansi Party Beats from Apartheid's Dying Years' compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.

BBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.

Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.

As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.

SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.

It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.

So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.

BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.

BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions. Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original. Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980. Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company. "Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored. "Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow. The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve. The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down. The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.

Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. 'Wütrio' is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers. 'Wütrio', the band, originally formed in the Bavarian city of Würzburg and went through line-up changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast. The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey. From his time as one half of production duo 'A Forest Mighty Black', Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation 'Soulgliding' and co-productions with DJ Kon on the 'Kon and the Gang' album from 2016. It is worth noting that it is Rainer himself who gave the name 'Soulgliding' to a genre of certain paced and soulful groove of music that now bears that name. His selection of the 'Wütrio' album to kick off a highly collectable series of re-issues is an inspired choice.

Issued on BBE Music, “Reflections” is the new album by London based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective. Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinska puts together a second long player, collaborating with British jazz stars Tony Kofi (Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist Vimala Rowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime (Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).

 Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip Hop.

“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording - it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too. For ‘Reflections’ I tried to break from any stereotypes and limitations - what you hear is my own choice of sounds and influences, taken from the many mixtapes I've been making since I was a teenager. I put together the music I like to listen to when I am happy or sad, when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most - a free spirit, courage, innovation and all the beautiful things life gives us. I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” - Alina Bzhezhinska

 Reflections is released on double LP vinyl, limited edition CD & digital formats.
 

French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much- anticipated fourth studio album, released on BBE Music. Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah. When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino among many others. Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip-Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak. Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.