Contemporary Funk 358 Items

Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

Five is the latest album from Khari Cabral & Jiva - a mouth-watering rare groove and acid jazz treat from the veteran bassist based out of Atlanta. The album features lead single ‘Show Me The Way’ released earlier in the year by UK label Splash Blue, and also two covers of the legendary James Mason from his jazz-funk classic Rhythm of Life.

Khari Cabral is a member of soul group Jiva, and outside his solo pursuits he’s also the touring bassist for four time grammy award-winning India Arie. P-vine is delighted to present Five as a limited edition LP with an iconic Japanese obi strip attached.

Kat is unashamedly bold & confident in her abilities as a vocalist and songwriter, effortlessly merging Soul, and classic R&B which transpired throughout the mature and well rounded 10 tracks from her debut opus released in 2021.

Her long awaited second album Honestly is the perfect evolution, moving through into Blues and Gospel. “After Frank White [Sheffield Blues legend and mentor] died, Nick and I went back to our roots and decided to scratch that Blues/Gospel itch that Frank had given us a taste for.

Limited to 200 copies, in this coor way only availabble at HHV.

Karate Boogaloo are proud to present Hold Your Horses, a mesmerizing new long-playing disc of original instrumental tunes from Melbourne, Australia’s most dedicated.

Sitting at the core of Melbourne’s burgeoning movement of cinematic instrumental soul, Karate Boogaloo’s roots go deep into the fabric of the DIY soul idiom. A mainstay of the Melbourne underground over the last decade, their now sought-after series of LPs delving into hip-hop sample culture and its relationship to funk music, The ‘KB’s Mixtapes’, are evidence of their long-standing contribution to the development of the Melbourne cinematic soul sound.

Henry Jenkins, Hudson Whitlock, Callum Riley, and Darvid Thor have been playing music together since their playground days. Meeting as high school preteens, these four friends explored the teachings of the great small combo instrumental bands à la Booker T & The MG’s and The Meters. With these lessons in one hand and their characteristic sense of goofy humor in the other, the ensuing 15+ years saw Karate Boogaloo develop the kind of shared musical language that can only be built through countless hours spent together existing as friends and musical allies.

Karate Boogaloo’s singular bond shines brightly on Hold Your Horses, the second album of original Karate Boogaloo compositions. Following on from the cult classic Carn The Boogers (College Of Knowledge Records, 2020), Hold Your Horses is a document of KB’s distinct interpretation of instrumental funk. A bona-fide journey from start to finish, each tune melds seamlessly into the next, deftly creating a world built on moments of cinematic tension, whimsical melodies and eerie discordance and underpinned by undeniable super heavy funk. Hold Your Horses respectfully builds on a legacy of soul music whilst remaining unimpeachably unique and authentic.

When you imagine yourself driving along the coast with the top down, what music do you imagine is on? “shine”, from modern city pop trailblazer Junk Fujiyama is sure to be a contender as listening to it even in the dead of winter can transport you to that seaside road. The hotly anticipated sequel to last year’s “Happiness” sees Fujiyama once again teaming up with producer and arranger Tatsuki Kamiyama to create the pop, rock, and soul tinged city pop that has become Fujiyama’s trademark. With end of summer ballads like “Bokura no Summer Days ～Our Summer Days～” and summertime dance tunes like “Ai no Kiseki ～Trajectory of Love～” this album has a song for any occasion. Don’t miss the beautiful artwork by ‘hikari&’ which really ties the whole thing together. This summer album is sure to be one suitable for any season!

Jungle Fire present their new 7inch “N.U.S.A.U. / La Kossa” on Colemine Records. Channeling the same heavy afro-latin vibes that made their first couple of 45s so in demand. Uptempo with super heavy drums and percussion, "N.U.S.A.U." is going to light up the dance floors! You're gonna need doubles of this one.

Kicking off the new year with international appeal, Amsterdam-based Wicked Wax enlist Jonny Tobin for their tenth release. The Canadian keyboardist and songwriter has a knack for crafting his skill to cater to a wide variety of different styles, which are more than apparent on ‘Weekends’. Tobin tells a soulful story, weaving together modern-funk and neo-soul with jazzy synth leads, layered chord progressions and groove-oriented beats.

Synth heavy solos, basslines and larger-than-life chords characterize the entire project. With four- on-the-floor cuts like ‘Praise’ and ‘Cosmic Ocean’ and the gospel-inspired b-side (referencing the Holy day of the weekend), the record encapsulates the mind of the Canadian producer and shows his wide inspirations. It shouldn’t come as a surprise that the EP can easily be described as “a lush soundtrack to a sun-drenched weekend”. Jonny Tobin is part of an up and coming wave of new artists within the modern funk and soul spectrum. The ‘Weekends’ EP sees him collaborating with artists from the same pool he’s in, such as Makadi, Guerschon Auguste, Janelle Reid and more. Together then collaborators are pushing their sound forward. something Wicked Wax is also keen on. Additionally, Tobin got some help from Astrological, one half of Potatohead People. He guided Tobin and helped co-produce the EP, with great success as you’ll surely hear.

On the Line is a fresh collaborative release between west coast and east coast Canadian artists Jonny Tobin and Maya Killtron, kicking off the beginning of 2024 in a memorable way. The song features a satisfying blend of soul, 80s funk, and yacht rock. Undeniable grooves come together with Jonny Tobin’s lush and funky production work, and Maya Killtron’s soaring vocal stylings elevate the track to a whole other level. On the Line will appeal to lovers of modern funk and beyond! The Light In All Of Us is a brand new instrumental track from acclaimed jazz fusion/funk keyboardist and producer Jonny Tobin. His production blends elements of dance music, modern jazz, and funk, with Jonny’s signature writing style - catchy synth melodies, uplifting chord progressions, and a dash of improvised solos. This colourful mix of aesthetics helps to set the track apart from other instrumental beat-based releases, and Tobin’s usual sense of musical optimistic shines through clearly in the music.

Roots Underground kicks off 2024 with a bang, presenting the EP of one of the most fascinating living legends of Detroit techno: John Beltran. Although he has never stopped producing music (luckily for us!), this EP represents a more than welcome return of John Beltran to those more classic techno sounds that have made him one of the most iconic producers of this musical genre in the world.

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Time to hit the accelerator! Released in association with the classic label KPM, Jaguar Skills has produced his own film soundtrack, 'The Man In The Jaguar Mask', released on his label Nope23. Using the same equipment and recording methods of the classic ‘70s film soundtracks, Jaguar Skills & his orchestra, have channelled the sounds of the great action film composers into this project. With intricate detail, Jaguar Skills made sure, every step of the way, that this project was going to be as authentic as possible, so he invited some of the very best session musicians in the world to work on the record. The all-star players on the album include; Simon Katz (Gorillaz, Jamiroquai) on guitar, Drew Horley (Stevie Wonder Band) on keys, Zoltan Renaldi (Funkadelik) on bass, Bill Ware (Steely Dan) on vibes, conductor Jonas Peterson (Marvel Soundtracks) on strings, Patrick Gorce (Tony Allen Band) and Andy Findon (Lala Schifrin Band). Each track instantly takes the listener through a different scene in the movie, 'The Man In The Jaguar Mask' is a love letter to the b-movies and kung-fu flicks Jag Skills grew up on.

Best DJ in the world J Rocc gives you six bootleg bangers of electro ecstasy as Flaunt Edwards channeling legendary party people like Ron Hardy, Larry Levan, DJ Harvey, and Kraftwerk.

The Sleepers RecordZ is proud to introduce Jolie Davenport to the world of modern funk music. The Austin, TX-based vocalist brings you two synth-centric hitters, both produced by the backbone of the Sleepers label, Ivan Makvel. In the course of just two tracks, Davenport covers all of the prerequisites for a well-rounded modern day boogie excursion. "Runaway" is made for the dance floor and isn't shying away from its polished, pop sensibility. The chorus is an earworm waiting to get pleasantly stuck in one's mind, gliding perfectly over frenetic bass notes and synth brass chords. "Like That," penned by modern funk mainstay Moniquea, balances the party by taking it to the streets. Makvel's production here is better suited for a cruise down the boulevard in a 60's-era Chevy rather than the club, yet it's also certain to incite involuntary movement the moment you press play. As always, Sleepers brings you these two tracks in physical form via limited edition color vinyl 7" - only 150 copies pressed.

Debut 45 from the San Diego’s In Motion Collective. Heavy, danceable Afro-beat in the same vein with groups like Ikebe Shakedown, Budos Band, and Antibalas. Tip!

Limited to 500 Copies!

20 years HHV: our team has selected an album from each of these years that is particularly relevant and precious to us. On a monthly basis we release exclusive and limited pressings of these records in collaboration with some of our favorite labels.

Originally released in 2011 with a limited pressing and repressed once a few years later in 2016. “Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound. Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation. ..Ikebe Shakedown is here to change that. The band takes signature Afrobeat elements—big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk”. -Marlon Bishop, Wnyc

Ikebe Shakedown, the self-titled album and Ubiquity Records debut from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. Pushing their globally-informed sound and eclectic approach to tune-writing into new territory, “Self-titling the album is a way to introduce the audience to the many facets of the band -- to provide a more complete understanding of what we do,” bassist Vince Chiarito says. “Our sound has grown to incorporate our influences without overtly representing any one in particular. It just sounds like us," he adds.

NBN Archives’ second reissue is the debut - and sole - LP of Bay Area group – i.f.A aka International Family Affair. A lethal fusion of G-Funk and R&B, this self-titled album was first released on Rollin Record Enterprises in 1997. After having dropped their first single on Capitol in 1996 and being shelved right after, band-leader Derrick Shaw had the plan to start over his i.f.A project independantly. With roots in and around Oakland, East Palo Alto and Stockton, it was only a matter of time before these musical minds would meet to form their own “Family Affair.” Derrick Shaw aka D-shoot was a vocalist and musician with a well-known band called Kashmir before he met the self-dubbed Godfather. After an introduction on the basket-ball court, the two became friends and immediately went to work flushing out many of D.’s musical concepts. In stepped Bias, a rapper born into the game. His versatile rap styles blended perfectly with i.f.A.’s old school Funk and R&B vibe. SOS, a rapper from the streets of Oakland with a unique cadence, added his “gangsta rap” and “rough edge” background which compliments the style of i.f.A. Produced by D-Shoot and Ivan Johnson this LP is loaded with rapping and singing backed with smoothed-out instrumentals that gives off that "laid-back/bumping" vibe with that "something for the ladies". “It’s so different you can’t help but like it. We will appeal to a wider fan base because we’re not trying to sound like every other act coming out.” - D-Shoot.

The long-awaited LP release of "sweet SPARE," the third album by I love you Orchestra Swing Style (ilyoss), a leading Japanese Jazz x Citypop band. The album features a danceable instrumental sound based on jazz and swing, and includes nine tracks featuring vocals from Hiro-a-key, Tamuraryo & Namichie, and Korean neo-soul sensation dosii.

The release comes on 180g. After a twenty-year search for the man behind the cult 70s jazz-funk group Opa, Far Out are honoured to present Barrio Opa: a new work from Fattoruso and his team of world-class musicians, including the sensational Candombe drumming ofthe renowned Silva Brothers. Recorded at Sondor Studios, Montevideo, the album is the natural development of the original Opa sound, fusing Afro-Uruguayan rhythms, jazz harmony and heavy funk attitude, under Hugo's unique musical vision.

Produced by Patchworks!

BRAND NEW ALBUM BY GUTS! YEAH!

“Early last year Guts told mehe wanted to go back to basics and make another MPC/samples based LP. Then, when he instead submitted a full live band album on which he’d worked with Cyril Atef, one of the craziest drummers I know, plus also Ben Abarbanel Wolf, who has worked wonders for Ebo Taylor andPat Thomas, you can imagine my excitement.”-Franck Descollonges, Heavenly Sweetness French national, Ibiza resident and intrepid beach digger Guts, has readied here something very special indeed. Now five albums deep into his recording career, he’s built a loyal fanbase and following from his early days as a beatmaker. Guts’ initial spirit of sampling, sequencing and programming still remains but it has now morphed into something of a full-on musical opus. His journey started with 2007 debut “Le Bienheureux”released on Nightmares On Waximprint Wax On, that led up to2016’s “Eternal”, which was his first endeavour into making an album with a full band, The Pura Vida Band. Having toured extensively with the band in support of the album and playing festivals like Glastonbury, Secret Garden, Green Man andShambala,it was during these shows that something really embedded in him about ideas of how music could be made from a more collective point of view. So now having worked through this stack of ideas, he bestowed this new full length player, ‘Philantropiques’,which marks something radically different from his previous outputs.
‘Philantropiques’is an experimental yet sunny outing, comprising longer tracks that open up into carefully considered arrangements. A tropical afrobeat LP if you like. One strong theme that runs throughout is the vibrations of the Southern Hemisphere, somewhere Guts has been so well associated with over the years. His compilation series, “Beach Diggin”,now in its fifth volume, brings together highly sought after rarities, lovingly curated with long time friend, collaborator and visual artist, Mambo. To help him realize this new musical plan, Guts set up a brand new live band featuring Kenny Rubyon bass, Christiane Prince on drums, Cyril Atef on percussion, alongside Adelaide Songeons and Ben Ababarbanel Wolf on the horns. This was the musical base, around which all the other elements were to be composed by a whole host of other musicians, MCs, vocalists and creatives. Ideas developed were live brass, flutes and even a vibraphone! Once Guts was thick in the musical jungle of creation, intrigued guests come by the studio to see what he was cooking and lend a hand; saxophistJowee Omicil, guitaristLameck Macaba, Djeuhdjoah and Lieutenant Nicholson, storytellerPat Kalla, Brazilian legendPinduca, vocalistsNazaré Perera &Catia Wernec, and also French jazz virtuoso pianist, Mario Canonge. Be it poems, musical solos, a touch of humor, or travel tales between Brazil, the Caribbean islands and Africa, all these artists feature on this LP in some capacity or other. The recording sessions flowed fluently with Guts holding it down at the controls.Afro trance, Brazilian jazz funk and frantic percussion areall explored over this 13 track offering. Lead singles ‘Kenke Corner’ and ‘Mucagiami’step effortlessly between the dancefloor to ballad, the latter featuring a stunning vocal performance from Angolan vocalist, ‘Vum Vum’.With stopovers in Haiti, the Caribbean, Africa and the Amazon, Guts has gone far and wide enlisting various people to present you his new album --he is one true ‘Philantropiques’.

The profile of French producer Guts has grown steadily in recent years and he is now considered to be one of the leading producers in France and a recognised name on the European beats scene. ‘Hip Hop After All’ features an array of stellar MCs and vocalists, including Grand Puba, Masta Ace and Cody Chestnutt. Double LP gatefold sleeve with insert & download card, exclusive content for the download card.

His hit "Brand New Revolution" was played by many radio stations worldwide and was used in Grand Theft Auto V. His compilation series ‘Beach Diggin' is now a reference point for summer and quality music in general.

After three instrumental albums, Guts decided to come back to his Hip Hop roots (he created the French rap band Alliance Ethnik in the 90's) and invited quality MCs and singers to join him in the studio. You can find on this album, Hip Hop legends such as Grand Puba, Masta Ace, Bob Power, Rah Digga, plus singers such as Cody Chestnutt, Patrice and a batch of new talent - Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey and Dillon Cooper.

Here it is, the all new Guts album with guest appearances by Tanya Morgan, Leroy Thomas, Lorine Chia and more. Essential pick!

Without a pandemic, you’d now be listening to an album wholly recorded in Cuba with local musicians. Back in 2020, everything was organised, so that in May 2021 we could get started. Yet, the sanitary measures proved to be a fierce adversary, so rather than giving up entirely we decamped to Dakar in October the same year – a compromise that ended up being a positive event in itself.
Cuba has a long African history. Under mass enslavement and the Transatlantic trade, Africans were forced from their homelands, against their will, taking their music along with them. Merging throughout the centuries, taking on European influences, led to the birth of a distinctive Afro-Cuban musical tradition. Highly percussive, brass-based, simmering, full of danceable rhythms. The spirit etched into thousands of recordings, forever turning towards Africa. The departure point here is not to keep things the same. Rather, a return to the source enacts a loop – much the same as those providing the foundations for hip-hop beats.
The flame when it’s re-lit illuminates everything. Thanks to the Senegalese musicians in Dakar, the Cubans who crossed the Atlantic to join us and my usual family of musicians, this music – a cross-section of covers and original compositions - exists as a homage to Afro-Cuban music. Made in Africa, in Senegal. Three worlds, three languages, three colours. Recorded over 17 days, non-stop, germinating the seed born in Cuba at the end of 2020 so that the most beautiful fruits might be cultivated in Dakar, 2022.
When the world doesn’t seem big enough, we look up to the sky where even the blackness is lit up, where those I loved who are now gone shine as stars, shining as brightly as all the others. Each time I think I’m not going to make it; I recall the star of my mother. Then the path becomes clear.
Pandemic, visa problems, cultural clashes, bank transfers that didn’t go through, a fractured foot – this project sometimes felt like a series of accumulated challenges. The only thing linking us, a shared love for the music, each of us invoking our personal star and all that we have overcome.
In this way, the music is born as a call to our stars.

Without a pandemic, you’d now be listening to an album wholly recorded in Cuba with local musicians. Back in 2020, everything was organised, so that in May 2021 we could get started. Yet, the sanitary measures proved to be a fierce adversary, so rather than giving up entirely we decamped to Dakar in October the same year – a compromise that ended up being a positive event in itself.
Cuba has a long African history. Under mass enslavement and the Transatlantic trade, Africans were forced from their homelands, against their will, taking their music along with them. Merging throughout the centuries, taking on European influences, led to the birth of a distinctive Afro-Cuban musical tradition. Highly percussive, brass-based, simmering, full of danceable rhythms. The spirit etched into thousands of recordings, forever turning towards Africa. The departure point here is not to keep things the same. Rather, a return to the source enacts a loop – much the same as those providing the foundations for hip-hop beats.
The flame when it’s re-lit illuminates everything. Thanks to the Senegalese musicians in Dakar, the Cubans who crossed the Atlantic to join us and my usual family of musicians, this music – a cross-section of covers and original compositions - exists as a homage to Afro-Cuban music. Made in Africa, in Senegal. Three worlds, three languages, three colours. Recorded over 17 days, non-stop, germinating the seed born in Cuba at the end of 2020 so that the most beautiful fruits might be cultivated in Dakar, 2022.
When the world doesn’t seem big enough, we look up to the sky where even the blackness is lit up, where those I loved who are now gone shine as stars, shining as brightly as all the others. Each time I think I’m not going to make it; I recall the star of my mother. Then the path becomes clear.
Pandemic, visa problems, cultural clashes, bank transfers that didn’t go through, a fractured foot – this project sometimes felt like a series of accumulated challenges. The only thing linking us, a shared love for the music, each of us invoking our personal star and all that we have overcome.
In this way, the music is born as a call to our stars.

Blue Note Records and Universal Music Classics & Jazz have announced the signing of the phenomenal jazz and soul singer/songwriter Gregory Porter. Porter has been in the studio with his working band and producer Brian Bacchus recording his third album and major label debut, which will be released worldwide on Blue Note Records this September. In 2010 Porter released his debut album Water (Motéma Music), which earned a GRAMMY nomination for Best Jazz Vocal Album. His sophomore album Be Good (Motéma Music) followed in 2012 and earned him his second GRAMMY nomination for Best Traditional R&B Performance. The Huffington Post has declared Porter "the brilliant new voice of jazz," adding that he is also "heavily steeped in the passion, delivery and emotion of the best classic soul men."