Buscar:carlos niño

From the perspective of people who categorize music by genres and types, Evan Shornstein, better-known under his production moniker Photay, has created lots of different kinds of sounds over the past decade. There’s the Hudson Valley-raised, Los Angeles-based multi-instrumentalist composer’s quasi-IDM and electronic almost-pop tracks with the occasional vocal; the improvised organic and and experimental music sessions he participates in alongside new age giants, Laraaji and Carlos Niño; the diaspora electronic folk-jazz he makes with veteran musicians from all over the globe; and the disco and house adjacent records he tag-team DJs with Brooklyn producer Cesar Toribio and engineer Phil Moffa (who also masters all of Photay’s records — and those of dance-music dons around the world). But if you’ve listened closely to Shornstein’s prodigious output, you know that separating and classifying the work is actually contrary to the energy of Photay music. That what on-the-surface may lazily appear as differences, is actually brought together by a shared sonic warmth, a hardware pastoralism at play. Whatever category he engages, Photay makes outdoor music under the spell of the elements, for the purpose of different human movements — some physical, some spiritual, some emotional, some philosophica.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Triple edition, packaged in thick PVC cover with a foldable double sided poster and download card.

Celebrating the 20 year anniversary of highly revered Jazz collective, Build An Ark from Los Angeles, California. Formed in 2003 and releasing albums between 2004 and 2010, the Carlos Niño co-ordinated project included contributions from luminaries such Phil Ranelin, Big Black, Miguel Atwood-Ferguson, Adam Rudolph, Derf Reklaw (R.I.P.), Dexter Story, Dwight Trible, Gaby Hernandez, Mia Doi Todd, Munyungo Jackson, Nate Morgan (R.I.P.) Waberi Jordan, Avotcja & many more.

This set was compiled by band leader Carlos Niño with recordings from 2001 to 2008 that have previously been released on Kindred Spirits.

Gilles Peterson says "It's a beauty!"

South-Asian vocalist, multi-instrumentalist and composer Ganavya releases her new studio album “Like the sky I've been too quiet” on Shabaka Hutchings’ Native Rebel Recordings. The album features contributions from artists including Kofi Flexxx, Floating Points, Carlos Niño, Leafcutter John and Mercury-nominated bassist Tom Herbert.

Since graduating from Berklee College of Music, UCLA and Harvard, Ganavya has quickly become a much-in-demand artist on the US scene who consistently confounds expectations. Hailed as “among modern music's most compelling vocalists” (Wall Street Journal), “most enchanting” (NPR) and "extraordinary" (DownBeat), Ganavya has worked with an array of luminaries including the likes of Quincy Jones, Wayne Shorter and Esperanza Spalding and on new album "Like the sky I've been too quiet" she presents thirteen compelling tracks which showcase her ethereal voice and numinous energy.

Miguel Atwood-Ferguson lebt in seiner Heimatstadt Los Angeles und ist einer der herausragenden Musiker, Orchestratoren, Arrangeure und Komponisten unserer Zeit. „Les Jardins Mystiques Vol.1“ ist sein lang erwartetes Debütalbum. Es präsentiert uns eine leidenschaftliche Liebeserklärung und ein Reich der schönen Möglichkeiten.

Es gibt eine Fülle von Möglichkeiten, sich Miguel Atwood-Fergusons Musik zu nähern - und es gibt keine Grenzen, wohin sie jemanden führen könnte. Als Komponist, Arrangeur, Multiinstrumentalist und Produzent hat er an mehr als 600 Alben und Soundtracks für genreübergreifende Künstler:innen gearbeitet, darunter Flying Lotus, Thundercat, Anderson .Paak, Mary J. Blige oder Seu Jorge. Seine Klangpalette umfasst Jazz, Klassik, Hiphop, Electronica, Avantgarde, Pop und vieles mehr. Zu seinen gefeierten Live- und Aufnahmeprojekten gehören die innovative orchestrale Neuinterpretation des Repertoires von J Dilla, „Suite For Ma Dukes“ (2009), seine produktiven Werke mit seinem langjährigen Freund und Kollaborateur Carlos Niño, darunter das improvisierte Album, „Chicago Waves“ (2020), auf International Anthem, und seine Gruppen wie das Quartetto Fantastico und das Miguel Atwood-Ferguson Ensemble. „Les Jardins Mystiques“ ist ein Projekt, das Miguel Atwood-Fergusons musikalisches Universum offenlegt und mit anderen teilt. Es hat sich über ein Dutzend Jahre hinweg entwickelt, wurde größtenteils von ihm selbst finanziert und zeigt seine ausgesprochen elegante Musikalität (u. a. auf Geige, Bratsche, Cello und Keyboards) sowie seine freigeistigen Dialoge mit mehr als 50 Instrumentalist:innen. ‚Volume 1‘ ist hierbei bloß der erste Teil eines geplanten Triptychons, das insgesamt ganze zehneinhalb Stunden origineller und erfrischend ausladender Musik umfassen wird. Atwood-Ferguson verband sich mit seinen Gastmusiker:innen auf vielfältige Weise: durch gesellige Studiodialoge, durch Fernkommunikation während der Pandemie und durch die Energie von Live-Auftritten in seiner Heimatstadt, darunter im Del Monte Speakeasy (das herrlich belebende, von einem Klavier begleitete „Dream Dance“) und im Bluewhale (u. a. „Ano Yo“ mit dem temperamentvollen Alt-Saxophon von Devin Daniels und den kosmischen Harmonien von „Cho Oyu“). Bennie Maupin, der legendäre US-Multi-Blasinstrumentalist, zu dessen Repertoire auch Miles Davis' Fusion-Opus „Bitches Brew“ gehört, spielt Bassklarinette auf der hinreißenden Eröffnungsnummer „Kiseki“. Im Laufe seiner illustren Karriere hat Miguel Atwood-Ferguson mit Künstler:innen wie Rihanna, Ray Charles, Lana Del Rey, Lady Gaga, Anderson .Paak, Dr. Dre, Kamasi Washington, Mary J. Blige, will.i. am, Big Boi, Arthur Verocai, Bonobo, Lianne La Havas, Kaytranada, Moses Sumney, Seu Jorge, Common, The Roots, The Cinematic Orchestra, Jamael Dean, Shafiq Husayn, Adrian Younge & Ali Shaheed Muhammad, Carlos Niño, Bilal und viele mehr zusammengearbeitet.

WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

‘When There’s Love Around’ is GRAMMY Awardwinning artist Kiefer’s second album for Stones Throw.

For the first time, Kiefer is joined by a full band, including Sam Wilkes, Carlos Niño, DJ Harrison (Butcher Brown) and many more. Release to be supported with extensive global PR / radio campaigns and national and international touring.

For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes.
Kiefer is one of LA jazz’s most exciting new artists, with a broad international fanbase. Previous press and radio highlights include 6
Music, Radio 1 / 1Xtra, Radio 2, Pitchfork, Mojo, FACT, Mixmag, Drowned in Sound. Double vinyl cut at 45rpm for top audiophile
quality. Bonus track ‘thinking of you’ exclusive to vinyl release. (Not available on digital format.) Available to independent retailers on blue and yellow coloured vinyl. Headline European tour in February 2022.

Welcome to the third part of the TELE MUSIC saga, the label founded by Roger Tokarz. He deeply marked the era with his audacity and his vision of music on film. This irresistible new selection tells the story from 1968 to 1985 of a prolific label that sometimes produced ten albums a year, and which delighted many French and foreign film directors who, to 'flavour' their films, drew on this sumptuous catalogue.
In this volume 3 TELE MUSIC, we have highlighted legendary artists who have left an indelible mark on the history of the music bookshop and on the history of music in general:

• Janko Nilovic (also known as Yanko Nilovic, Anady Loore, E. Orti or Alan Blackwell),
• Jean-Jacques Debout with his irresistible “Mitsuko” released in 1967 and re-released in 1969 on “Music Bazaar”, • Bernard Lubat, the impressive percussionist, vibraphonist, multi-instrumentalist and very good “scator” (Bernard played in the Doubles Six with Quincy Jones and Eddy Louiss),
• Gabriel Yared, the man with a hundred film scores. Arranger and composer for Johnny Hallyday and Charles Aznavour, among others!
• Hervé Roy conductor and writer for Nancy Holloway,
• George Chatelain, pianist, guitarist, clarinettist, founder of the famous studio “CBE” created in 1966 with his sister Janine Bisson and his high school friend Bernard Estardy.

All these composers were renowned for their acute sense of composition, arrangement, conducting and inter- pretation, and in their own way left their mark on many sound recordings of musical illustration "made in France!
CBE, the Chatelain, Bisson and Estardy studio is located in the 18th arrondissement of Paris. Still in operation and run by Julie Estardy, it has been receiving major artists for over half a century. It is a place of reference. At the time: Johnny Hallyday, Claude François, Sheila, Carlos, Françoise Hardy, Nino Ferrer recorded their hits there.
Now it's the turn of Sebastien Tellier, Bertrand Burgalat, Keziah Jones, Tony Allen, Jeff Miles to name but a few. CBE and its giant Bernard Estardy put TELE MUSIC in the best conditions to produce an atypical and powerful sound.
Bernard Estardy had a custom- built mixing console built by his German friend Gunther Loof, offering the perfect tool for recording 4 and then 32-track Arp 2000, Moog, Korg, Prophet synthesizers and all acoustic instruments. The field of experi- mentation was limitless.
Until now, the titles of this collection were only available in vinyl format, via rare and expensive prints that collectors sell for a high price on dedicated websites. This volume 3 gives you access to the "crème de la crème" of the legendary repertoire made in France!

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

West Mineral return with a followup to Mister Water Wet’s 2019's subtropical ambient slow-burn debut ‘Bought the Farm’, expanding Iggy Romeu's horizons to contrast feverish Afro-Caribbean ambient jazz with jaunty illbient and atmospheric freakouts. Low-lit heat that’s highly recommended if yr into Nick León, Carlos Niño, Kelman Duran, Gonçalo F. Cardoso.

Mister Water Wet continues to excavate the tropical soundscapes that simmer the producer's Kansas City home with his Puerto Rican roots, on a new album of extended vignettes and mood pieces that cross a late 90’s Mo Wax instrumentals vibe with present day feelings of displacement and ennui.

LP opener ‘Bory’ tunes us into Water Wet’s weirdly fuzzed frequencies, where tremeloed strings and found sounds resemble what might have been a lost dean blunt x dean hurley sound design concept for Inland Empire, while ‘I Saw the Green Flash' opens a swirl of strings and traditional rhythms caught in a reflecting pool of canned classical orchestrals and 1950s theremin wails. 'Good Apple’, meanwhile, cranks up the mood with aged x looped piano paired with an undulating, bass-heavy shuffle that wouldn't sound out of place on a Kelman Duran x Martin Denny mixtape.

'When Kennybrook Burned to the Ground' leans into heady jazz vapours, spreading crackle over pitch-fucked horn samples, but it’s the producer's weird use of percussion that keeps us gripped: scattering his arrangements across the grid, mimicking an ensemble of players deployed in irregular formations. Romeu embraces trip-hop on 'Any Other Time', blending Afro-Caribbean percussion with a swung downtempo beat, while ‘Isthmus’ reminds us of the clatterbox plunder of Moonshake’s PJ Harvey hookup ‘Just a Working Girl’ - with all its asymmetric hooks.

The extended closing track 'Losing Blood' takes a leaf out of Fennesz's glitched rulebook, stretching and folding disintegrating loops through an 11 minute descent into the elegiac aether.

il Holmström and Peter Wikström are a duo from Northern Sweden. The duo have collaborated with many artists over their almost twenty year long music career such as 4th Disciple, Dwight Trible, Carlos Niño, Fennez, Green-House, Laraaji, Lo-Fang, Masayoshi Fujita, Purl and many more.

»The Road Not Taken« is the tenth released studio album from Ecovillage and the first one released on vinyl. The album has a more sacramental and human feel to it compared to their previous work.

Electronic jazz pioneer, pianist, producer, re-mixer Mark de Clive-Lowe has an envious reputation as a cross genre creative artist who blends acoustic, electronic and world music exploring themes of belonging and identity. Equal parts jazz, house, hip hop and broken beat artist, Jazziz summed him upperfectly - "way before jazz hybridity became a worldwide phenomenon, de Clive-Lowe was busy designing its blueprint." Freedom is a live concert recording made at the Blue Whale, Los Angeles -where Mark put together a Los Angeles based collective made up by very accomplished and suitably talented Teodross Avery - saxophone, Corbin Jones - bass, souzaphone drummer Tommaso Cappellato Carlos Nino -percussion and the highly renowned spiritual jazz vocalist Dwight Trible.

‘Primordial Waters’ is Jamael Dean’s debut album on Stones Throw, following ‘Black Space Tapes’ (2019) and ‘Oblivion’ (2020).

Gatefold double LP. Cover photo by renowned photographer B+ (Brian Cross).

‘Primordial Waters’ sees the prodigiously talented young musician take his explorations in jazz and hip-hop to new heights. Inspired by Orisha stories and Jamael’s Los Angeles roots, the album is heavily infused with Yoruba spirituality and celestial themes. Several of the
tracks interpolate traditional Yoruba songs and feature vocals from frequent collaborator Sharada Shashidhar.


The album was mixed by Leaving Records’ Zeroh and mastered by Grammy Award-winning audio engineer and Low End Theory founder Daddy Kev.

Jamael performed on Kamasi Washington’s 2018 album ‘Heaven and Earth’ and has toured with Thundercat,

Miguel Atwood-Ferguson and Carlos Niño. Extensive touring is planned for 2021 and 2022, including a residency at LA’s Gold Diggers, a double headline bill with Mndsgn at the Jazz Cafe, and several European jazz festivals and club shows in November 2021.

For fans of Sun Ra, The Comet is Coming, Kamasi Washington, Moses Boyd, Joe Armon-Jones, Nubya Garcia, Sons of Kemet, Alice Coltrane.

Textural sound reflections, communicating our enthusiastic, diverse relationship with nature, The Earth, woven from improvised patterns, forming the fabric of composition . . . Among each others closest friends, Jesse Peterson and Carlos Niño sonically painted land, sea and skyscapes, for Pablo Calogero to tell impressionist stories a top, full of questions and answers about the many experiences and adventures in life. Drives To The Beach is an eager companion for you, on your own unique journey.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Morgan was one of the most active artists in the Los Angeles underground jazz scene, and a member of the late great Horace Tapscott‘s artist collective Union of God’s Musicians and Artists Ascension (UGMAA). He performed alongside Tapscott, and other Nimbus recording artists like Jesse Sharps, who he introduced to Tapscott. He also performed with Arthur Blythe, Gary Bartz, Azar Lawrence, as well as soul icons Willie Hutch (notably on the Foxy Brown soundtrack) and Rufus & Chaka Khan. Most recently he contributed to Carlos Niño’s 2016 album Flutes, Echoes, It’s All Happening!, and was a part of Niño and vocalist Dwight Trible’s soul-jazz group Build An Ark (which also featured Tribe’s Phil Ranelin).

Journey Into Nigritia was Morgan’s debut as a leader, and the first of three recordings he released for Nimbus West. The album has a strong post-Coltrane spiritual feel, with some modal-based melodies, and some fiery solos from saxophonist Dadisi Komolafe. The record also features a solid rhythm section featuring bassist Jeff Littleton and drummer Fritz Wise.

Review by T J Gorton

At the dawn of the Reagan years, LA jazz pianist Nate Morgan recorded his first album for Nimbus West. Journey Into Nigritia portrays an artist marked by the icons of his day, and striving for reinvention. Although he came from a solid jazz background, coming up through the Pan Afrikan People's Arkestra, Morgan found more exciting work with pop bands in the seventies, including glory years with Rufus w/Chaka Khan. On Journey into Nigritia, Morgan re-embraces jazz. Included in the band are Jeff Littleton on bass, Fritz Wise on drums, and Dadisi Komolafe on alto sax.

The collection opens with the Trane-ish Mrafu. Komolafe blasts off in short order, and while the modal chording recalls Tyner, Morgan shows flashes of the nimble loquacious gift that define him. While Alice Coltrane incense perfumes "Morning Prayer, Morgan's devotional sincerity and personnel expression triumph.

Suitably complex with yearning minors, Mother features the trio performing a memorable composition. Littleton's deep-note sustain contrasts Wise's shimmering cymbals, while Morgan tells heart-wrenching truth. With a somewhat solemn theme, He Left Us a Song regularly bursts through into straight-ahead fast break sprints up and down the court. The unexpected "Study in C.T. offers an homage to Cecil Taylor and Morgan's musical roots with free improvisations on a dense and spiky theme. The exhilarating result has Morgan exploring his own way, with a winking slinging of jagged bass chords halfway through.

While a quarter century's experience has nurtured Morgan's prodigious gifts beyond this ambitious debut, Journey Into Nigritia offers enjoyable insights into his artistic evolution, while adding another precious title to the discography of one of the most woefully under-recorded greats of our time.

Build An Ark is well known as one of the greatest spiritual jazz bandsAin the 2000's led by producer Carlos NiNo and vocalist Dwight Trible.AThis EP includes remarkable 2 cover tracks from their first album"Peace With Every Step(2004)" of the astonishing project where he invited top jazz musicians, Phil Ranelin who led the Tribe label in the 70's and Nate Morgan from the Nimbus label led by Horace Tapscott, etc.AA-side is a cover of Pharoah Sanders' masterpiece "You've Gotta Have Freedom", one of the representative songs of spiritual jazz.AAnother side Includes a cover of "Vibes From The Tribe" which is Phil Ranelin's heavy breakbeats left on Tribe in 1975!

Right after the beautiful album " The Aquarius Years", Cali-Soul queen Tiombé Lockhart is back again on Mother Tongue with a special follow up.
"Sexy Suzy on a Sunday" receives two cosmic treatments from jazz-star Christian Scott and Intergalactic Don Carlos Nino.
Expect to be transferred into another (Soul) galaxy!

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

Universal Beings is jazz drummer / producer Makaya McCraven's new album - his most ambitous, elegant and refned work yet.
Recorded at 2 intmate live sessions and 2 pop-up 'studio' sessions across the 'new' jazz hotbed cites of New York, Chicago, London, and Los Angeles, Makaya collaborated with an all-star cast of improvisers (15 musicians in total,
including Shabaka Hutchings, Nubya Garcia, Je Parker, Miguel AtwoodFerguson,Tomeka Reid, Brandee Younger and Carlos Nino) to create source material for the signature style of 'organic beat music' producton he debuted on the groundbreaking 2015 release In The Moment.
The result is this epic, 2xLP/CD set that represents another breakthrough in Makaya's career as a recording artst, as well as a defnitve new work of the excitng global groundswell of next-generaton, Black musicians re-vivifying and
re-artculatng 'jazz' in 2018.

'Spirit Reflection' is the third album LP from Los Angeles singer-songwriter
Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create aunique, beautiful and multi-layered album.
The album features a stellar line-up of LA talent, jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the 'creative music ensemble' Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible.

Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd's City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. Gaby and Carlos passed us a copy of 'Spirit Reflection'.and we put it on the deck. It immediately grabbed us and we couldn't stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We're very proud to be releasing it'... ...this is a future classic, an 'album' in the truest sense of the word. Brilliant.' says Graham.