Basil Kirchin Jack Nathan Nigel Shipway
Wildlife

The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record a solo album as a leader on his own WENHA imprint where “Reminiscing” found release in 1981. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name. This can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album. “Reminiscing” is a deep and rewarding spiritual jazz album with bass lines that can blow through walls as if they were made from paper. Foot stomping rhythmic beats and lyrics that are pure poetry, far-out (and less obvious) vocal duties … this all takes the avant-garde approach featured here on his album to new ‘cosmic’ heights. ‘Originality’, ‘unique’ and ‘standing out’ are the main key-words here. Also…a quick closer look at the cast of players is most likely to be enough to get an impression that this is a special record. The album features an all-star line-up that includes Billy McCoy (Pharoah Sanders) on piano, Tani Tabbal (Roscoe Mitchell, Sun Ra) on percussion, Allan Barnes (Nina Simone, Bootsy Collins, Gill Scott-Heron) on saxophone, and Wendell Harrison (Tribe) himself on tenor saxophone/vocals.

The collection of instrumental piano-based pieces, Kirby says, is the outcome of “trying to accept the duality of the world, and through that find peace”. Though he recorded Conflict about a year ago, Kirby decided to spontaneously release it in response to the escalating global crisis, with the hope that it might help fortify the listener and induce inner calm.

Gary Chandler (born in 1938) started playing professionally in 1960 in the thriving Columbus Ohio club scene with Hank Marr, Don Patterson and Benny Maupin. He worked in the Motown Revue from 1965-67 and led his own group for over a year. Over the following years Chandler joined the bands of Lou Donaldson & Charles Earland where he remained until the recording of his debut album.Producer Bob Porter, who decided it was time for the skilled trumpeter to make a record in his own right, provided him with an all-star line up of musicians to collaborate on the album. ‘Outlook’ features Idris Muhammad on drums (which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming), on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and on guitar we have Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin’s ‘Respect’). Last but least, we have the percussion duties which are handled by Buddy Caldwell (THE session musician for respected labels such as Prestige and who also collaborated on albums by Ceasar Frazier & Melvin Sparks)… speaking of Ceasar Frazier, he’s also featured on ‘Outlook’ with his trademark organ sound.‘Outlook’ is one long STEAMROLLER groove & one of the true lost soul-jazz-funk classics. Crate diggers and DJs have coveted “Baby Let Me Take You (In My Arms)” for years, but in truth, damn near every second of the album demands consideration as a sample. All of this is carefully overseen by engineer Rudy Van Gelder & producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis…and many others).Gary Chandler’s first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition (500 copies) featuring the original artwork and liner notes.

Asha's 1976 album 'The Devil Is Loose' is maybe her most well-known record. Featuring the beautiful disco-funk-classic 'Space Talk’, Asha's ethereal soaring vocals take us on a journey that almost mirrors Asha's eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own. You would hear it played by David Mancuso at the now ‘mythical’ underground New York party 'The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ’Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.