AS-SHAMS ARCHIVE VOL. 2
AS-SHAMS ARCHIVE VOL. 1
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| As-Shams Archive Vol. 1: South African Jazz, Funk & Soul 1975-1982 |
Including essential tracks by the likes of Dick Khoza, Black Disco and Harari, remastered from the original analog tapes, As-Shams Archive Vol. 1 is an unbeatable introduction to South African rare groove for new listeners as well as a long-awaited first anthology for the label’s many devoted followers.
As-Shams Archive is home to the catalogues of As-Shams/The Sun, its predecessor Soultown Records and the reissue imprint MANDLA. The archive holds original master tapes, unreleased recordings, photographs, artwork and ephemera documenting the story of South African jazz in the 1970s.
TETE MBAMBISA - Did You Tell Your Mother
MIKE MAKHALEMELE - Greatest Hits 1975-1982
A chronological journey through the early years of South African saxophonist Mike Makhalemele (1938-2000) and a showcase for his five classic albums from the As-Shams Archive catalogue.
Adapting the playlist and artwork of a 1978 compilation issued on the Flame label, Greatest Hits 1975-1982 features remastered tracks from the albums The Peacemaker (1975), The Bull and The Lion (1976), Peaceful Eyes (1976), Walking Spirit (1977) and Blue Mike (1982).
All Tracks Composed by Mike Makhalemele
BATSUMI - The Hunters 1974-1976
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| As-Shams Archive Vol. 7: Batsumi - The Hunters 1974-1976 |
Cover Photo (L-R): Thabang Masemola, Buta-Buta Zwane and John Mothopeng (Mamelodi Stadium, August 1974). Licensed courtesy African Pictures.
POPS MOHAMED (1949-2025)
5 December 2025: We join countless others whose lives were touched by the gentle spirit of Pops Mohamed (1949-2025) to pay the deepest of tributes to a life dedicated to music. To be sure, Pops Mohamed was far more than just an esteemed composer and multi-instrumentalist with a professional career that stretched over half a century. He understood the profound role that music plays in bringing people together, healing the soul and illuminating the transcendent. He loved people, believed that each and every one of us play an important role in making the world a better place and tirelessly dedicated himself to embodying and sharing this powerful message. With gratitude for his proud musical legacy, we bid farewell to a creative force and spiritual mentor and offer our condolences to his beloved family and friends.
MOVEMENT IN THE CITY - Movement in the City 3
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| As-Shams Archive Vol. 6: Movement in the City - Movement in the City 3 |
Transitioning from Black Disco through Movement in the City to releasing albums as a solo artist, Pops Mohamed's 20-year trajectory through the As-Shams catalogue is second to none. Coming in the wake of the Black Disco compilation Discovery 1975-1976, Movement in the City 3 is an archival release that spans the late-70s and early-80s and assembles hidden gems from Mohamed's second progressive South African jazz ensemble.
Featuring four outtakes (three of which are previously unreleased) as well as an alternate version of a track from the band's self-titled debut of 1979 and a single edit from its 1981 follow-up Black Teardrops, Movement in the City 3 provides the long-awaited final instalment of a trilogy that echoes the three-album output of Black Disco. Alongside Mohamed on organ are stalwart compatriots Sipho Gumede (bass) and Basil Coetzee (tenor sax/flute) as well as Robbie Jansen (alto sax) and three fine drummers by way of Gilbert Matthews, Roger Harry and Monty Weber. That these extraordinary recordings didn't find their way onto an album in the 1980s is testament to the depth of quality produced at the time.
Movement in the City 3 is Volume 6 in a series of compilations and previously unreleased recordings from As-Shams Archive that include Tete Mbambisa's African Day (2024) and Kippie Moeketsi's Hard Top (2025).
Tracks 1, 2, 5: Previously unreleased Movement in the City outtakes.
Track 3: An alternate version of "Jackie" featuring Basil Coetzee on flute instead of tenor sax from Movement in the City's self-titled debut of 1979.
Track 4: Movement in the City outtake renamed and issued as "Happy Feelin'" on the Pops Mohamed album Kalamazoo in 1990.
Track 6: Single edit issued in 2020 of the album opener "Lament" from Movement in the City's 1981 album Black Teardrops.
BATSUMI - Batsumi 77
A primer for the legendary Afro-jazz group Batsumi and a gateway to their two classic albums with edited versions of tracks from the original releases.
Adapting the playlist and artwork of a compilation issued in 1977, Batsumi 77 features remastered tracks from the band's self-titled debut of 1974 and its follow-up Moving Along from 1976. While the 1977 versions of the shortened tracks employed clumsy fade-outs, Batsumi 77 revisits the editing process in 2025 with the precision and creativity offered by modern audio tools.
Batsumi 77 arrives on the cusp of the band's 50th anniversary celebration in 2026 and opens a path to the As-Shams Archive remasters collection The Hunters 1974-1976.
KIPPIE MOKETSI - Hard Top
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| As-Shams Archive Vol. 5: Kippie Moketsi - Hard Top |
Hard Top assembles the previously unreleased 1975 recordings of revered South African saxophonist Kippie Moeketsi (credited most commonly during the 1970s using the spelling variation Moketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring archival artwork by Mafa Ngwenya and comes from As-Shams/The Sun on the heels of Tete Mbambisa's African Day album in 2024.
By 1975, at the age of 50, saxophonist Kippie Moeketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise in prominence but also seen him help catalyse the momentum of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his noble and dedicated career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.
Owing to the efforts of record producer Rashid Vally, Kippie Moeketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Mpale's Our Boys are Doing It (1977), Moeketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as an admirer and dedicated scholar of Classic American Jazz.
While Moeketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moeketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe.
Marking the 100th anniversary of Kippie Moeketsi's brith on 27 July 1925 and officially joining his catalogue 50 years after it was recorded, Hard Top celebrates the multiple dimensions of a veritable South African jazz legend. The release also provides an opportunity to reflect on the unwavering support of his producer, fan and friend Rashid Vally, who passed away in December 2024.
Cover Artwork by MAFA NGWENYA
DENNIS MPALE - Our Boys Are Doing It
By the mid-1970s, trumpeter Dennis Mpale was a consummate musician with an auspicious resume that located him at all the key turning points in the evolution of modern South African jazz. In his mid-20s, he led the trumpet section of Chris McGregor’s Castle Lager Big Band and participated in the ensemble’s landmark 1963 album Jazz/The African Sound. 1968 saw him recording I Remember Nick with The Soul Giants, which joined a wave of notable late-1960s releases, including The Mankunku Quartet’s Yakhal' Inkomo and The Chris Schilder Quintet’s Spring, that ignited the ambitions of South African jazz artists and producers in the 1970s. In 1975, Mpale co-founded the “rock jazz” ensemble Roots, inaugurating the era of jazz fusion in South Africa and opening the door for Pacific Express and Spirits Rejoice.
By 1977, Mpale had earned the right to an album of his own and, having participated in the 1975 recording of Abdullah Ibrahim’s African Herbs, turned to producer Rashid Vally of the As-Shams/The Sun label for his solo debut. Vally financed the project and seized an opportunity to license it to the local subsidiary of a major international label. As such, Our Boys Are Doing It was issued in South Africa on the Mercury label in 1977. Featuring saxophone heavyweight Kippie Moeketsi, the album was a response to the global direction taken by trumpeter Hugh Masekela on The Boy's Doin' It in 1975. In contrast, seeped in the bump jive style of popular urban township music, Our Boys Are Doing It was a manifesto for an authentic, exuberant, homegrown variety of South African jazz.
While solo releases often dispensed with collaborator credits, crediting “the boys” as the album’s backing group pointed towards a collectivist, albeit gendered, conception of South African jazz as a form of cultural production. Mpale was also interested in the title’s veiled reference to the underground armed resistance to Apartheid and he would go on to spend much of the 1980s as a political exile in Botswana. This said, musicians often worked incognito for contractual reasons and producer Rashid Vally himself obscured his involvement on the credits of the Mercury release of Our Boys Are Doing It to avoid any blowback from his regular distributor. While it is believed that “the boys” included the rhythm section of the album Tshona! with Pat Matshikiza on piano, Alec Khaoli on bass and Sipho Mabuse on drums, guitar and additional saxophone contributions remain subject to speculation.
We Are Busy Bodies’ 2025 edition of Our Boys Are Doing It is sourced from the original analog masters and restores the album to its rightful place as an essential part of the As-Shams/The Sun catalogue. This title is the final instalment of a ten-part reissue series that remembers and celebrates beloved figures in the story of South African jazz and honours the passion, work and legacy of label founder Rashid Vally, who passed away in December 2024.
THEMBA - Themba
Themba features a skilled ensemble led by Baba “Themba” Mokoena, who appeared on Dick Khoza's landmark Chapita album in 1975 and has gone on to earn a reputation (over the course of a career that spans into the 2020s) as one of the legendary guitarists of his generation. Reissued for the very first time on the cusp of its 50th anniversary, Cinedelic's 2025 edition of Themba is sourced from the original master tapes under license from As-Shams Archive.
BLACK DISCO - Black Disco & Black Disco 3
On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory.
Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes.
TETE MBAMBISA - African Day
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| As-Shams Archive Vol. 4: Tete Mbambisa - African Day |
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (82) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive.
SPIRITS REJOICE - Spirits Rejoice!
SKYJACK - Light Cycle
Skyjack is what happens when a heavyweight South African jazz trio meets a pair of Swiss reed and brass hotshots. Over the course of a decade, this all-star quintet has forged a reputation as an innovative and adventurous force in contemporary African and European jazz. Combining deep grooves with thrilling rides and avant-garde experimentation, Skyjack is a powerhouse both on stage and in the studio.
Light Cycle is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a solid grounding in memory and folklore.
Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.
* Track sequence differs on 2LP vinyl edition
THE HAL SINGER JAZZ QUARTET IN SOUTH AFRICA - Soweto to Harlem
When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa.
With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market.
Cinedelic’s 2023 edition of this impossibly rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the age of 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.
BLACK DISCO - Discovery 1975-1976
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| As-Shams Archive Vol. 3: Black Disco - Discovery 1975-1976 |
With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.
Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.























