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
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.
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.
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
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.
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.
GIDEON NXUMALO - Early-Mart
An album dedicated to drummer Early Mabuza (Castle Lager Big Band, Mankunku Quartet), who died in 1969. Embedded journalist Leslie Sehume reports that a 14-piece band assembled for the legendary February 1970 session, eager to contribute to honouring an esteemed musical compatriot. Yet the recording also turned out to be Nxumalo’s swansong, released just months before his own passing in December 1970.
Issued on Soultown Records, Early-Mart was producer Rashid Vally’s first foray into modern South African jazz. It opened the door to a friendship and association with Abdullah Ibrahim, which in turn gave rise to the emergence of As-Shams/The Sun in 1974. In the wake of reissues of Jazz Fantasia (1962) from Mad About Records and Gideon Plays (1968) from Matsuli Music, we’re honoured to offer a 50th anniversary edition of the final piece of the Gideon Nxumalo Trilogy for South African jazz enthusiasts of the 21st century. With it’s long-form narrative centrepiece, Early-Mart pairs well with our contemporary companion release uGaba the Migration by Sisonke Xonti.
The ensemble that recorded Early-Mart was uncredited. We have no authoritative list of participants and the composition of the brass section is subject to differing accounts. We combine credible anecdotal sources to offer the following:










