This set compacts three of the Senegalese singer's 1980s albums onto a pair of discs, ditching three tracks in the process. This is not a drastic action, though, as Baaba Maal's Wango and Taara records have those same songs in common. So, the overlap has now disappeared, and disc one presents his Jambaajo original in its 10-song entirety. There is also room for a bonus cut, with the acoustic Tabakaly featuring Maal's longtime guitarist sideman (and mentor) Mansour Seck. All in all, this is another crammed collection of tunes from the budget-orientated Nascente label.
When Lonnie Smith cut Boogaloo to Beck in 2003 he made a comeback, though he was never gone in the first place. That record's deeply grooving, funky soul-jazz cut to the chase in a way many jazz organ records hadn't by taking the Blue Note aesthetic of turning the pop tunes of the day – even those as esoteric as Beck Hansen's – and turning them into vehicles for jazz improvisation. On Jungle Soul, the great organist and his quartet – Peter Bernstein on guitar, drummer and percussionist Allison Miller, and rhythm guitarist/producer Matt Balitsaris – tackle some jazz standards – "Bemsha Swing," "Willow Weep for Me," and Eddie Harris' bona fide soul-jazz classic "Freedom Jazz Dancer" – and place them against Marvin Gaye's "Trouble Man," and a handful of Smith originals and come up with a stunner.
There are records created through years of preparation and production that take a lifetime to achieve. Soul to Soul by vocalist Carmen Lundy, indeed falls in that category, yet defies categorization. Lundy is setting her own course, while other singers seek safe refuge in tepid covers of popular standards. She offers original material delivered with authenticity that can only come from a seasoned jazz veteran.
After many years in the music business, saxophonist-bandleader-composer John Lurie has created a musical identity all his own. Best known for his mercurial work with the Lounge Lizards, Lurie has found a pleasant niche recording soundtracks for films like Get Shorty and Stranger Than Paradise. Accompanied by a number of talented musicians, including Marc Ribot, John Medeski, Calvin Weston, and other assorted Lounge Lizards, Lurie displays an impressive ability to create lively and evocative film music. While Lurie only performs on half of these compositions, his sonic vision is both distinctive and eclectic. Bouncing stylistically from downtown funk and progressive soul to chamber jazz, rock, and tribal percussion workouts, Lurie's mood-inducing orchestrations are witty, passionate, and consistently engaging.
There is a lot of confusion with regards to the modern soul scene. An off-shoot of northern soul, it initially mixed new release independent soul, with post late-60s soul that didn't fit with the northern scene. They championed a lot of great records, but this was the mid-80s and it now seems odd to describe nearly 50 year old records as modern soul - but somehow the name has stuck. Extra Added Soul luxuriates in this contradiction, as it allows us to mix up the boogie like 'Love Explosion' by Donnell Pittman, with two-step Chicago classics by Elvin Bishop or El Anthony, or the danceable sweet soul of Dyson's Faces with Gil Scott-Heron alike 'Patience' by Rokk. Amongst the twenty tracks there is also room for a touch of Prince on 94 East's exceptional 'If You See Me' and the cosmic soul of Karriem's super rarity 'I Love You'.