Osibisa-Osibisa (1971)

Osibisa released their debut album in 1971. In this first work, the Afro-British band showcased a brilliant fusion of psychedelic Afro-pop and jazz-rock sounds, magnificently captured by a group of outstanding instrumentalists and vibrant, energetic compositions. Tracks like the beautifully arranged “The Dawan” and the joyful jazz-rock “Music For The Gong Gong” demonstrate the group's sonic diversity, while the superb “Ayiko Bia”, the dynamic “Oranges”, and the sublime “Phallus C”, perfectly encapsulate Osibisa's style with soaring saxophone, organ, and guitar lines, supported by simply masterful percussion. In conclusion, this is undoubtedly one of the best jazz-funk-afro-pop-rock albums ever released and would elevate Osibisa even though in subsequent years they would release other major works such as "Woyaya" (1972), "Heads" (1973), or the magnificent double live album "Black Magic Night; Live At The Royal Festival Hall" (1977).

Paul Simon-Graceland (1986)

By the early 1980s Paul Simon had released two mediocre and partly disappointing albums that had relegated them to popularity levels far below their status as a pop star.
Towards the middle of the decade Paul Simon overhears a cassette of South African groups from the suburbs of Soweto.
From this point on, Simon became interested in that music and considered recording an album where he mixed those African songs and his personal creativity.
The result was an incredible interracial work that mixed the roots of American music, pop, a cappella music, rock and traditional sounds such as isicathamiya and mbaqanga, in addition to receiving strong influences from South African musicians such as Johnny Clegg.
The vocal group Ladysmith Black Mambazo, and other great African and North American musicians participate actively in the album: Youssou N´Dour, Randy Brecker, Steve Gadd or Adrian Belew among many others.
"Graceland" won four platinum albums for its sales and the Grammy award for best album of 1986, in addition to putting Paul Simon on the path of success after a few years disappeared from the charts.

Mandrill-Just Outside Of Town (1973)

This album was the fourth by the African-American band Mandrill, their second release in 1973, and it continued their exploration of ethnic sounds adorned with funk, jazz, rhythm and blues, and Latin rhythms, styles they had already experimented with on their previous album, "Composite Truth". The album features an exciting mix of sounds driven by the horn section, as evidenced in the energetic funk track "Mango Meat". The fusion with exotic ethnic music is evident in "Never Die", the Caribbean-infused "Fat City Strut", and the melodic jazz-rock of "Africus Restrospectus". Other highlights include the jazzy "Love Song" and the Mediterranean-tinged instrumental "Aspiration Flame". While creatively a step below their earlier releases, this record remains a consistent and quite solid effort.

Demon Fuzz-Afreaka! (1970)

Another of those magnificent, short-lived bands was the Afro-British Demon Fuzz, composed of descendants of South Africans who had emigrated to England after World War II, taking advantage of the labor shortage in British industries caused by the loss of thousands of men in that tragic conflict. This unique band was part of a diverse style that fused Latin rhythms reminiscent of Santana, the Afro-rock of Osibisa, and elements of jazz and funk blended with progressive jazz. Their lineup consisted of eight members: five formed the standard rock section drums, bass, Hammond organ, guitar, and vocals, and the rest were wind and percussion musicians. After touring for several years in various London clubs, they secured a contract with Dawn Records, releasing their only album, "Afreaka!", a magnificent work where the rhythm and energetic music captivate the listener from the opening and exhilarating "Past Present And Future", a splendid nine-minute instrumental brass rock track. The jazz-rock vein is evident in "Disillusioned Man", where they approach the musical styles of bands like Chicago or Blood, Sweat & Tears. In the exotic "Another Country", the band showcases their eclectic side with a gritty yet elegant track. The second side features their most progressive moments with the haunting "Hymn To Mother" and the psychedelic and dynamic "Mercy (Variation No. 1)". Following the album's release, the group embarked on an extensive UK tour alongside other bands from the same label, such as Camus and Heron, as well as making a guest appearance on the BBC. The recording of a subsequent maxi-single would be the band's last official release, as they disbanded some time later due to a lack of success despite their immense talent. Their only album, with the addition of some previously unreleased tracks, has been repeatedly reissued in recent years in the British, North American, and Japanese markets, generating considerable enthusiasm among fans of the darker sounds of 1970s progressive rock.

Osibisa-Woyaya (1971)

Behind a spectacular cover designed by Roger Dean lies Osibisa's second album, which continues in the same stylistic vein as their debut, but with added elements of jazz and rock. For this second album, the band underwent several lineup changes, which did not alter their characteristic sound. Varied percussion remains the driving force of Osibisa's music, embellished with a magnificent horn section, keyboards, flute, and rock guitars. From Latin jazz sounds like "Rabiatu", to funk rock "Move On", passing through percussion-heavy jazz in "Spirits Up Above", the Afro-funk "Y Sharp", the fusion of psychedelic music, rock, and African tribal sounds in "Survival", and the atmospheric African ballad "Woyaya", this second effort by Osibisa is an excellent and innovative jazz-rock album infused with African and Caribbean influences.