Hot Throwback Party

Ministry's enormously successful Throwback brand returns with THROWBACK LATINO. Celebrate the new instalment of the #1 series in style, as it follows in the footsteps of the massive selling albums: Throwback Old Skool Anthems, Throwback R&B, Throwback Slowjamz, Throwback Summer Jamz, Throwback Party Jamz, Throwback Grooves and Throwback Hip Hop. So, it’s time to take it back with these seminal blasts from the past including anthems from Justin Timberlake, Shakira, Jennifer Lopez, Pitbull, Enrique Iglesias, Gloria Estefan and more!

French guitarist/producer U-Nam is again standing tall and looming large on the smooth jazz scene with another creative gem called C’est Le Funk. In addition to dazzling us with his graceful and funky instrumental work (and one funky delivery with vocals from Tim “TiO” Owens), the album is loaded with strong production and presence. Wasting no time putting the groove into high gear from the start, the guitarist leads off with a driving track called “Smoovin’,” continues plowing ahead with the party groover “Something’s Up” and strutting right through the super-funky, hook-rich title track which features Nivo Deux (Nivo Deux is actually a project organized by U-Nam and wife Shannon Kennedy focusing on the incorporation of 80’s Pop, Smooth Jazz, and Electro-Funk).

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award.

Veteran blues pianist (and longtime Howlin' Wolf sideman) Emery Williams Jr. - known professionally as Detroit Junior - has had a renaissance of sorts in the past decade, releasing three albums on Blue Suit Records, and now this one, Blues on the Internet, on Delmark Records. Williams is a throwback to the classic Chicago blues piano style, and his warm, expressive vocals fall somewhere between a hoarse Ray Charles and a latter-day Bob Dylan, while his songwriting, although hardly innovative, is solid and workmanlike, avoiding most of the obvious blues clichés. His intent isn't to move blues into the 21st century so much as preserve the way it was played in Chicago in the 1950s (where Williams played alongside the likes of Jimmy Reed, Eddie Boyd, Eddie Taylor, and Little Mack Simmons)…