‘From 1972, the third and last album by this group formed in Johannesburg’s Alexandra township in 1968, announcing a shift away from early Memphis soul influences towards a pioneering African-driven jazz sound, and laying the foundations for the afro-fusion scene spearheaded by groups like Batsumi, The Drive, and Harari.
‘Black Soul features a who’s who of musicians from great South African bands over the decades: Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s; kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; Zack’s son Jabu Nkosi, who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari, and then Mango Groove.’

Legendary, stone-classic jazz-funk from 1977; produced by Wayne Henderson for At Home.

‘From 1970, the first Lightmen LP pre-dates the deep-set, maverick jazz issued by the likes of Tribe and Strata East. Mostly groove-based and cohesive, though pushing further out than you might expect from later Lightmens.’ A young Ronnie Laws is here, on the verge of hooking up with Hugh Masekela, and then Earth Wind & Fire; stylistically light years away from Pressure Sensitive, his breakout for Blue Note, in 1975. Also Bubbha Thomas on drums, Doug Harris on tenor sax, Carl Adams on trumpet, Kenny Abair on guitar, and Joe Singleton on trombone.

‘Classic Vinyl.’

Unmissable LP from 1973; round about the same time as Coffy.
Murderously pimped versions of Ain’t No Sunshine and Papa Was A Rolling Stone open and close. There is a slinky, bubbling go at Aretha’s gorgeous Day Dreaming, and the classy, tricky jazz-funk of Cocoa Butter. Not to mention the Pan-African title track: stone-cold-killer, energising, utterly essential Roy Ayers funk.

His swansong, in 1962, setting his warmly bluesy, swooping beseechments within the new jazz bossa sound. With Willie Bobo on drums. Kenny Burrell is superb.