Cerca:at jazz

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

Fast-rising producer Mr.Diamond makes his debut on Hot Creations this June with the three-track Dance With Me EP. The release continues a standout 2021 for the young talent, which has seen him release on Saved Records already this year.

Dance With Me sets the tone, with jazz-fused horn string samples cosying up next to stripped-back kick-hat combos. It’s a signature peak-time offering that highlights the young talent at his best. Bongomastic takes on a darker edge, as murky drum loops converge on punchy late-night percussion. London Bass rounds off proceedings, a pacey minimal-laced number that you can’t help but move your feet to.

Mr.Diamond has taken the electronic music scene by storm in recent times. His maiden release came in 2019 and he’s since gone on to produce for a selection of contemporary house’s leading labels, including Solid Grooves Raw, Saved Records, Seven Dials and many more besides. Dance With Me EP marks a career milestone, a testament to his keen-ear for production, and sets the tone for a bright future that will see him continue to rise up the global dance ranks.

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Frank Sinatra & Count Basie Sinatra Basie + 2 Bonus Tracks (Orange Vinyl) “Sinatra had long since mastered the microphone, which had become his instrument, capable of a full-on roar or a whisper so intimate it seemed to be spoken inside the listener’s head. Tackling things like “Nice Work If You Can Get It” and “I Won’t Dance” took him back to a kind of repertoire he had mastered
two decades before. The youthful sheen hadn’t quite left the voice and age hadn’t yet darkened it. Basie wasn’t the greatest sight-reader and may not have played on all the tracks, but his band knew the score and Sinatra-Basie remains a collaboration of great strength and naturalness.” Penguin Guide to Jazz “The following decade would see his comeback to stardom, and Sinatra-Basie remains one of the highlights of that period. In this summit meeting, the iconic sonority of Basie’s orchestra is sublimated by Neal Hefti’s arrangements, while Sinatra, impeccable from start to finish, draws from the prodigious energy of the horns, strings and drums of this triumphant big band a simply irresistible elegance.” Jazz Magazine

Sonor Music Editions is continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. This is the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "UTOPIA", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

Limited Edition Classic LPs - 180g Virgin Vinyl -Audiophile Pressing Gerry Mulligan, Baritone Sax; Thelonious Monk, Piano; Wilbur Ware, Bass; Shadow Wilson, drums. New York, August 1957. Produced by Orrin Keepnews. Thelonious Monk was a creator in the true sense of the word. The current LP includes one of his rare albums that could fit within the standard formula of “jazz star 1 meets jazz star 2”. The pianist seldom shared the bill with other stars or accepted playing second fiddle to anyone. Two rare exceptions include his two 1950 sides backing singer Frankie Passions (“Especially to You” and “Nobody Knows”), and his 1950 studio session backing Charlie Parker and Dizzy Gillespie. But Monk is the leader on most of his recordings, and in a way, he was also the leading voice on this meeting with Gerry Mulligan. Most of the tunes played here are compositions by Monk, with the exception of the standard “Sweet and Lovely” - a favourite of Monk’s, who recorded it dozens of times - and Charlie Shavers’ “Undecided”, which could well have been Gerry’s only call for the evening. Although it remains clearly recognizable, the latter tune was slightly modified here, retitled “Decidedly” and attributed to Mulligan himself. No other recording of “Undecided” by Monk is known to exist. “’Round Midnight” was a Mulligan request for the session, as he wanted to record the song with its composer. It is clearly one of the best tracks of the whole album. However, the fact that no new compositions by Monk were recorded on this date seems to indicate that Monk always preferred to make his own albums and didn’t dedicate too much time to such experiments as Mulligan Meets Monk, which he may have regarded as a “commercial” venture. 4.5 Stars - Down Beat “The minutes of this meeting are very interesting indeed. They begin with a lyrical “’Round Midnight” and continue through Monk’s brittle “I Mean You”. In between, there are stretches of good to excellent Mulligan, brilliant Ware, and good to excellent Monk.” (Dom Cerulli)







g b4 | Straight, No Chaser [Alternate Version]

2023 Repress

This latest limited 7" from Mr. K features two incomparable baroque soul masterworks, one from a Chicago-based band that defied categorization and the other a deep cut from a living legend songwriter and performer.

The psychedelic soul of Rotary Connection’s “I Am the Black Gold of the Sun” still sounds revolutionary and unlike anything else, a full fifty years after it was originally released in 1971. Swathed in ethereal ripples of strings (courtesy the Chicago Symphony Orchestra) innovatively arranged by unsung genius Charles Stepney, and rooted in a rock solid foundation provided by the cream of Chicago’s cutting edge session musicians (among them guitarist Phil Upchurch and drummer Morris Jennings, veterans of countless soul jazz cuts), “Black Gold” sits in uncharted territory somewhere between soul, rock, jazz and classical chamber music. It’s a gorgeous territory, a fantasy land where Minnie Riperton and Sidney Barnes’s vocals transmit mystical, uplifting vibes, the entire affair anchored throughout by an addictive piano riff—a mixture that proved irresistible to Masters at Work, who covered it for their Nuyorican Soul project in 1997. Mr. K’s edit doesn’t try to force anything fancy on this masterpiece, simply tightening it up and taking advantage of the lush remastering to present this progressive classic on 45 for the first time.

In keeping with the orchestral soul mood, Mr. K turns to Stevie Wonder’s “Pastime Paradise” for the flip. Whereas “Black Gold” paints a portrait of a magical land, Stevie’s lyrics on “Pastime Paradise,” originally issued in 1976, are a penetrating look at the very earthbound concerns of modern society and its follies, an urgent message to look ahead rather than languish in dreams of the past. The sensitive string accompaniment provides just the right amount of gravitas and emphasis to Stevie’s voice without overwhelming it, while the hare krishna-inspired tambourine keeps the rhythm effectively. Mr. K’s edit again keeps things true to the original, simply providing a subtle intro that uses the tambourine rhythm to lead into the body of the song.

The prolific MC, producer and musician Oddisee’s album ‘The Iceberg’ is a plea for humanity to dig deeper in search of understanding and common ground. ‘The Iceberg’ is a distillation of stereotypical tropes in hip-hop and beyond, 12 tracks about money, sex, politics, race and religion that appear superficial until his multi-dimensional lyrics unfurl to expose the complexities of individuality and identity; how we see ourselves and how others see us. Deeply soulful, and shot through with jazz, Go-go, gospel, thick R&B and hard beats, the album is a timely, poetic statement. Oddisee has released two studio albums, several EP’s, mixtapes, and instrumental albums, and has over 30 million plays on Spotify. He’s been profiled by NPR, the Washington Post, praised by Pitchfork and Stereogum, performed on NPR’s Tiny Desk, Red Bull Sound Select, and at festivals including Glastonbury and Sasquatch. ‘The Iceberg’ follows two releases in 2016, the ‘Alwasta EP’ and the instrumentals album ‘The Odd Tape.’ His 2015 full-length ‘The Good Fight’ was a top five album on the iTunes Hip Hop/Rap chart and he was #5 on Billboard’s Next Big Sound Chart.

A deluxe edition of Charles Mingus’ classic 1974 live album for Atlantic Records. This 3LP expanded release with deluxe packaging includes over an hour of previously unreleased material sequenced in the order of the original performance, as well as never before seen photos by original photographer Gosta Peterson and new liner notes by Jazz historian & producer, Michael Cuscuna.

Jazz Montez is a music collective from Frankfurt, Germany dedicated to spreading the gospel of jazz throughout the universe. To them, jazz does not describe a particular style of music but an attitude, mindset and an approach to art and life that can manifest itself in a variety of ways. For their first vinyl release, they invited seven of the most talented and ambitious young groups from all over Germany to Frankfurt to record a track in the renowned studio Lotte Lindenberg. Despite the band's various influences, ranging from classic jazz, afrobeat and funk to hip hop, electronic music and rock, "Jazz Montez Presents Vol. I", mixed in its entirety by Drum&Bass legend Kabuki, works as a cohesive album. Pressed on high quality 180g vinyl, the record comes packaged in a beautiful and eco-friendly bagasse gatefold cover, designed by artist Clara Sipf. It features a 20 page booklet that includes a comic on the making of the album, texts by and information on the participating musicians, an interview with the sound engineers and an essay on the contemporary relevance of jazz. May this record inspire us to go through life guided by a spirit of open-mindedness and collaboration so that we may create a better, healthier and more beautiful world.

Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.



Matthew Halsall & The Gondwana Orchestra ft Josephine Oniyama

Badder Weather / As I Walk 7" (GOND07003)

Manchester based composer, arranger, producer, DJ and band-leader Matthew Halsall has carved out a niche for himself as one of the UK's brightest talents. His languid, soulful, beautiful music has won international acclaim and for his first ever 7" he revisits his 2015 masterpiece, Into Forever, selecting two classic cuts, featuring the great vocalist Josephine Oniyama to create an instant, timeless, classic.

Side A Badder Weather is deep and soulful built around a groove that never quits.

Side B As I Walk is a lush, soulful affair, featuring swelling strings and deep vocals.

Manchester based composer, producer, trumpeter, DJ and founder of Gondwana Records, Matthew Halsall is one of UK's most creative talents. A gifted trumpeter with a beautiful, expressive tone, his music has explored his love of the transcendental spiritual and modal jazz of Alice Coltrane and Pharoah Sanders, as well as more contemporary dance music and electronica.


a a1 Badder Weather (feat. Josephine Oniyama) clip
b b1 As I Walk (feat. Josephine Oniyama) clip

After making a worldwide splash in late 2020 with their De La Soul collab "Baby Got Work" feat Kapok, Potatohead People are back with a brand new must cop release that crosses both sides of the Atlantic as the Magnificent DJ Jazzy Jeff and legendary UK producer and keyboard player Kaidi Tatham team up to remix the forementioned track.

Bringing the energy up and out into a classic Hip-Hop vibe, Jeff & Kaidi infuse a head knockin' drum break complete with classic JJ scratches, synth bass, and Rhodes chords on top of Posdnuos's rhymes about getting your head down, putting your boots on and getting to work - helping to make the world better place for all of us. Vancouver collaborator Kapok sings aboout the shortness of our lives, and the potential in all of us to get the work done that we need to do. It's an allusion to the desperate times we're live in, with a hopeful call to action for all of us to roll up our sleeves and get down to the business of change.

The original "Baby Got Work" is included on the B-Side of the remix due to popular demand!

a 01: Baby Got Work (DJ Jazzy Jeff & Kaidi Tatham Remix) feat. Posdnuos & Kapok

Thirty years after his disappearance, Miles Davis, both the man and his character, is still a subject for debate and controversy. And haven’t we heard that before with all artists? But when it comes to the importance of his contribution to music in the 20th century there is only unanimity.

Everyone says, sure, he was the greatest trumpeter. Other opinions are that he left the world of jazz behind him in 1965. It’s also said he was the catalyst of every decade from 1949 to 1989; that he revolutionised jazz, and brought it out of the ghetto; that he buried jazz; that he was the most important musician of his century... Each of those statements has its share of truth. Whichever way

you look at him, he remains a major figure in jazz and in 20th century music overall. Miles surpassed (or at least equalled) the importance of both Louis Armstrong and Duke Ellington for the simple reason that he addressed not only the jazz world but all worlds of music, and that he created (among other things) a fusion of the spheres people knew as jazz, blues, rock and pop, and spoke to every audience, either in turn or collectively.

There was a dinner at the White House during which a perfectly respectable lady, married to a politician no doubt, asked Miles what he did for a living. With some annoyance Miles replied, “Well I’ve changed music five or six times, so I guess that’s what I’ve done ... now tell me what have you done of any importance, other than be white? [...] You tell me what your claim to fame is.” The provocative tone in Miles’ words lifted the veil over his refusal to be hassled, his revulsion against America’s treatment of Black people, and Miles’ awareness of his own importance in the world of music. Even when speaking, Miles maintained the art of synthesis.

In the beginning – this was 1944 – there was a concert in St Louis, Missouri where Miles heard Charlie Parker and Dizzy Gillespie for the first time. “Man, that shit was terrible, I mean Dizzy Gillespie, Charlie ‘Yardbird' Parker, Buddy Anderson, Gene Ammons, Lucky Thompson and Art Blakey, all together in one band [...] that shit was all up in my body and that’s what I wanted to hear [...] and me up there playing with them.1” Miles was 18, he’d been playing trumpet for years and now he knew that this was what he wanted to play, and nothing else: to play with Bird! A year later he’d turned 19 and he was in New York, where he learned it all, up there alongside Bird and Dizzy.

Saxophonist and composer Julian Siegel's fourth release on Whirlwind and his most ambitious musical feat to date, sees him assemble the Julian Siegel Jazz Orchestra. Following the acclaimed quartet release 'Vista' and the influential co-led Partisans album 'Nit de Nit', Siegel solidifies his reputation as one of Europe's most celebrated artists working across jazz and improvised music. Siegel has appeared as a member of some of the great large ensembles - he lists Hermeto Pascoal, Mike Gibbs, Kenny Wheeler, Django Bates and NDR Bigband amongst extensive performing credits. Now, the instrumentalist turns leader: 'Tales from the Jacquard 'is Siegel's first record at the helm of a large ensemble.

Back in print ! Spittle Records present an expanded reissue of Massacre's Killing Time, originally released in 1981. Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

88 Elmira St. is the fifth album by American guitarist Danny Gatton, released in 1991. This instrumental album covers various genres including jazz, country, rockabilly and blues. It was the first album by Gatton that was released on a major record label: Elektra Records. 88 Elmira St. was named after Gatton’s childhood home, and it includes a cover version of the Danny Elfman-composed theme song to The Simpsons. Gatton, who died in 1994 at only 49 years old, would go on to leave a lasting legacy and was admired by renowned guitarists like Slash, Joe Bonamassa, Steve Vai and many more.






RELEASE: 9-7-2021

88 Elmira St. is available as a limited edition of 1000 individually numbered copies on translucent coloured vinyl and includes an insert.

The Spaces Between were formed out of creative studio sessions in the summer of 2020 and comprises of bona fide house legend Terry Farley, electronic music producer Wade Teo and renowned author and co-owner of Club Chi’ll Records, Ian ‘Snowy’ Snowball. The idea for ‘Ghosts’ came from Terry’s idea to reference the Jazz greats who have gone to glory leaving behind their astonishing musical legacies. Within days of emailing a comprehensive list of jazz artists to Chicago House luminary and The It/ Jungle Wonz member, Harry Dennis, an answer with Harry’s sparse, haunting vocals was received. These were laid down over a bed of live instruments and electronic sounds and the combined talents of The Spaces Between created the compelling jacking jazz vibe of ‘Ghosts’.

Snowy ran the track past Jo Wallace at F*CLR Records – it was love at first listen. Jo suggested the track should be part of an EP with remixes from the newly reformed Black Science Orchestra. It was agreed and provided an ideal opportunity for Ashley to work with Terry once again, reinforcing the Junior Boy’s Own heritage.

The first incarnation of Black Science Orchestra began life in 1992 when Ashley Beedle joined forces with Rob Mello and their debut release, ‘Where were you’ exploded onto the global dance scene via the iconic UK house label JBO. Broken in the US by the Godfather of House, Frankie Knuckles, ‘Where were you’ entered into the hallowed halls of immortal dance music. Black Science Orchestra has become one of the most respected deep house acts of the 1990s, with the revered album ‘Walter's Room’ and the legendary genre crossing 'New Jersey Deep' track that is considered one of the top dance tracks of all time and rarely leaves discerning DJs' record boxes. Fast forward 29 years and original BSO founding fathers, Ashley and Rob decided that both they and the world needed the sound of Black Science Orchestra again and decided to reform, inviting long time musical and studio accomplice Darren Morris to join the collective now in its 6th incarnation!

When presented with the original version of ‘Ghosts’, Rob, Ashley and Darren loved it and all heard various ways it could be reworked in a true Black Science Orchestra way. Donning their pandemic production hats and remotely getting their feet back under the studio desk again, they worked together to create distinctly different remixes ranging from the deep, spacy electronic to the tough and psychedelic sleazy funk. With original BSO productions included on this EP, 'Ghosts' has helped square off the circle and the Black Science Orchestra conductors are back and mean dance floor business!

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Soul on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off special pressing exclusively for Record Store Day 2021.

Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

Studio One Soul tracks the link between American Funk and Soul and Jamaican Reggae at the legendary Studio One Records.

Curtis Mayfield, Aretha Franklin, Otis Redding, The Temptations, King Floyd, Booker T and The MGs - all these artists had a huge influence on Jamaican artists and this album contains versions of songs by all of them. Featuring classic and rare Reggae Funk and Soul cuts from the Reggae giants alongside rarer cuts, Studio One Soul spans over 20 years of classic Reggae from the Rocksteady Funk through to the deep Roots music.