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Devoting an album entirely to the Persian poetry of Jami, aluminary of the Sufi tradition, was one of Haji Ghulam Farid Sabri"s cherished ambitions for a long time. This dream came true for the Qawwali icon when he visited Berlin in July 1991 at the invitation of the Heimatklänge ("Home Soundsfrom Home Planet Earth") festival, accompanied by his 14-year-old son Amjad. After Ghulam Sabri"s untimely death on the 5th of April 1994, Amjad Sabri became his musical successor, thereby passing on the Sufi Qawwali mastership of the Sabri family to the next generation. This all came to an end when Amjad was murdered for his Sufi beliefs in the streets of Karachi on the 22nd of June 2016. Thus, Jami is not only a memorial to the Sufi Muslim tradition and the Persian poet but also to Ghulam Farid Sabri and Amjad Sabri. It remains their only record in Farsi.

Limited edition vinyl!

Transcendent : “Surpassing the ordinary; exceptional”
2007 - 2017 : Heavenly Sweetness is turning 10 years old!
They are celebrating with 3 birthday parties, and 2 compilations! One is a best of the label’s production, and the 2nd one is made of exclusive tracks, composed for this occasion.
This compilation is a very subjective best of the label’s production, from each album or single we had the chance to produce, with great artists.
A journey through 10 years of music, a great introduction to the label’s universe, but even the experts will discover unknown tracks.
Including well known artists such as Guts, Blundetto, Sly Johnson, Anthony Joseph, but also more confidential artists: Robert Aaron, Jacaranda Muse, Patchworks (and his tribute to Gil Scott-Heron) and many others!

Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music ever to be released outside of Nigeria.
The album focusses on a wide selection of recordings made in Nigeria in the 1960s, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and techniques of the Yoruba of Nigeria.
The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.
Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960.
Apala music was popular and widely accepted in Nigeria due to its philosophical and profound lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.
Apala is one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also included on this collection contextualising the music of Apala.
These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labels in Nigeria and have never been released outside of the country before. Soul Jazz Records are releasing this album as a deluxe double gatefold vinyl (+ download code), CD, slipcase and booklet, both containing full text and photography.

The next MOTON release comprises of three tracks carefully selected by Love Vinyl's Jake Holloway.
Jake co-owns the second hand department in the store with The Mighty Zaf. He also is a graphic designer working for one of the world's most prestigious labels Barely Breaking Even/BBE Jake DJs in around London with regular sets at Brilliant Corners, Spiritland, Servant Jazz Quarters and will be playing at The Southern Soul Festival this summer in Montenegro.
When label bosses Dave Jarvis and Diesel asked Jake to choose the tracks for the release he soon got to work and come up with these three under the radar gems...
"Morning Shunt" is a ferocious Afro/Disco/Reggae uptempo dancefloor bomb, hailing from London this fantastic genre crossing tune was ripe for an edit.
"Jaques Theme" is another off-radar Carib-Disco banger which will appeal to both the Disco and Balearic heads.
"The Bandit" with it's tuff breaks and Spanish guitar will also appeal to the Balearic fraternity as well as the B-Boys.
So three tracks, all of which fall into differing genres making this a very different and varied sounding release!

SJOB Movement's “Friendship Train” was the second LP by the group and one which saw the group rise to new heights. It's a masterpiece of African music with it's fluid afro beat grooves and spaced out Moog synthesizer sounds. Here is an excerpt from the liner notes written and researched by Uchenna Ikonne: ""Prince Bola Agbana might hardly be the most immediately recognizable name in the constellation of Nigerian music stars, but for a significant portion of the last half-century he labored in the shadows, dutifully serving as one of the key movers in its development: An in-demand session musician. An early and respected exponent of funk. A catalyst in the retrofit of juju into a modern pop genre. Most of all, though, he is recognized as the founder, leader, drummer and principal vocalist of the SJOB Movement. SJOB: Sam, Johnnie, Ottah, Bola. For a moment in the mid-1970s, they were le dernier cri in modern Nigerian music, representing the next step in the evolution of afro rhythms, and a new paradigm for the band economy. Their first album, 1976’s “A Move in the Right Direction”, was a minor sensation and was swiftly followed by “Friendship Train” in 1977. Then it appeared that the movement stopped moving, and SJOB disappeared from the scene.

Anthology of Zamrock musician Mike Nyoni’s funky, psych-rock and folkloric 1970s recordings Zambian guitarist and singer/songwriter Mike Nyoni’s music is Zamrock only because he came of age during the countryís rock revolution. He preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings - often politically charged, and ranging from despondent to exuberant - are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs - his first, with the Born Free band, and his two solo albums Kawalala and I Can’t Understand You - and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi.

One of the most successful bands in the Valencian Community who sing in Catalonia. It is an afrobeat song with a mix of rocksteady and its corresponding dub version by Roberto Sanchez, the most international Spanish reggae producer.