The Magic Touch
Step Into My World

Fela Kuti (1938-1997) was a Nigerian musician, producer, arranger, political radical and outlaw, and the originator of Afrobeat. A titanic musical and sociopolitical voice, Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock and beyond.After graduating from Trinity College of Music (now Trinity Laban Conservatoire of Music and Dance) in London, Fela returned to Nigeria with his band Koola Lobitos. Fusing the sounds of Jazz and Funk with the traditional African music he had been raised on, his star status began to flourish.EMI, his label at the time, saw the true power of his musical creation, what we now know as Afrobeat, and brought Fela and his band back to London. The result was ‘London Scene’. While recording, Fela began his friendship with Ginger Baker, who plays uncredited on the track ‘Egbe Mi O’.‘London Scene’ is the beginning of what would become Fela’s signature Afrobeat style and serves as a great introduction to Fela’s music. Recorded and remastered at none other than Abbey Road Studio.This 50th Anniversary edition of the classic Fela album comes on red, blue and white splatter vinyl, with a gold foil obi strip that will be the hallmark of all of the Fela 50th Anniversary reissues.Liner notes by the legendary Chris May.Fela recently came in second place, behind Tina Turner, for the fan vote for the Rock & Roll Hall of Fame nominations and received great press coverage in NY Times, Rolling Stone, MOJO, Record Collector and more.

As the final chapter in the initial run of Jazz Is Dead releases, Remixes JID010 continues the creative catharsis of an exhilarating new chapter in jazz music. Adrian Younge & Ali Shaheed Muhammad tapped nine iconic creators to reimagine their personal favorites from Jazz Is Dead’s catalogue to-date, who created striking new versions of songs by Marcos Valle, Roy Ayers, Gary Bartz, Azymuth, João Donato, Doug Carn, Brian Jackson and The Midnight Hour. Holding the line taut like a bass string, Younge & Muhammad only invited those special musical alchemists who have previously participated in Jazz Is Dead happenings, or those who are slated to share that stage soon: Cut Chemist, DJ Spinna, Georgie Anne Muldrow, Akili, Shigeto, Pink Siiffu, Dibiase, Natureboy Flako, and Kaidi Tathum. It’s a family affair.The album blasts off with Kaidi Tathum’s reinvention of Marcos Valle’s wistful beachside stroll, transforming “Gotta Love Again” into a strutting, pulsating excursion equally at home in the club and headphones. Building off of Valle’s mellifluous vocalizations, Tathum harnesses the composition’s polyrhythms to build a soulful, jazz-house track that floats over ethereal synths and stutter-steps to a propulsive beat entirely unimaginable, yet true to the spirit of the optimistic and effortless original.On his remix of Gary Bartz’s “Soulsea” Cut Chemist taps into the big-beat atmospherics of his old running partner, DJ Shadow, to craft a moody, echo-laden, percussive down-tempo saxophone meditation. Creating drama over bombastic beats, Cut Chemist layers Bartz’s searching sax refrains over sparse keyboard bars. Brian Jackson’s mellow masterpiece dedicated to the recently departed jazz vocalist, “Nancy Wilson”, receives an epic overhaul by producer Shigeto with help from harpist Ahya Simone and DJ Dez Andres. More than tripling the original’s duration while adding layers of new sounds, Shigeto’s remix weaves in and out of movements that alternately showcase Jackson’s soulful flute work, Simone’s sparkling harp and Andres’ bubbling percussion. Imagine if Dorthy Ashby and Hermeto Pascoal dropped in on Miles’ In A Silent Way sessions...It might have been a foregone conclusion that Adrian Younge & Ali Shaheed Muhammad would give their Jazz Is Dead series the remix treatment, but that doesn’t mean this is your average remix album. Just like Younge and Muhammad fused their aesthetic with the musical masters they invited to collaborate with for Jazz Is Dead, the DJs, producers and musicians tasked with remixing songs from the catalogue tapped into the same jazz ethos, resulting in imaginative and sometimes radically reimagined versions of the originals.

D’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made right now in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.This CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised.This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.