Cerca:j cub

In Guadeloupe, many people think that jazz and ka music are like a ring and a finger. To some extent, the same could be said about so called Latin music and the music played in the French West Indies.

Both aesthetics were born in the Caribbean and bear so many connections that they can easily be considered cousins. In constant dialogue, there are lots of examples of their fruitful alliance and have been for a while. The English country dance that used to be practiced in European lounges came to be called kadrille in Martinique and contradanza in Cuba. They both featured additional percussion instruments inherited from the transatlantic deportation. Drawing from shared feelings about the same traumatized identity – later to be creolized – it would be hard not to assume that they were meant to inspire each other. The golden age of the orchestras that graced the Pigalle nights during the interwar period further proves the point. As soon as the 1930s, Havana-born Don Barreto naturally mixed danzón and biguine music in a combo based at Melody's Bar. In the following decade, Félix Valvert, a conductor who was born and raised in Basse-Terre in Guadelupe, also worked wonders in Montparnasse with La Coupole, which was an orchestra made up of eclectic musicians. Afro- Caribbean performers of various origins were often hired on rhythm and brass sections in jazz bands, which used to enliven the typical French balls of the capital. In the 1930s and onwards, Rico’s Creole Band was one of them.



Martinican violinist-clarinettist Ernest Léardée, who would become the king of biguine music as well as the main figure of French Uncle Ben's TV commercials (a dark stigma of post-colonial stereotypes), had musicians from the whole Caribbean sphere play at his Bal Blomet – and they all enchanted "ces Zazous-là" (according the words of Léardée's biguine-calypso piece). In les Antilles (French for French West Indies), music history started to speed up in the 1950s, when trade expanded and radio stations grew bigger. The Guadelupean and Martiniquais youth tuned in their old galena radio sets to South American and Caribbean music. As for the women traders, les pacotilleuses, they bought and sold goods across different islands (the "passing of items through various hands" was thought to be most pleasurable) and brought back countless sounds in their luggage. Such was the case of Madame Balthazar, who once returned from Puerto Rico with the first 45rpm and 33rpm to ever enter Martinique.

Out of this adventure was created the famous Martinican label La Maison des Merengues, a music business she opened and undertook with her husband and which proved to be a major landmark. At the end of the 1950s, in Puerto Rico, Marius Cultier competed in the Piano International Contest playing a version of Monk's Round 'Midnight. He won the first prize and this distinction foreshadowed everything that was to come. Cultier, the heretic Monk of jazz, was quickly praised for writing superb melodies, always tinged with a twist that conferred a unique sound to his music. It didn't take long for the gifted self-taught musician to get to play with Los Cubanos, making a name for himself thanks to his impressive maestria on merengues.

The rest is history. Besides, in the late 1950s, Frantz Charles-Denis, born into the upper middle class in Saint-Pierre and better known by his first name Francisco, went back home after working at La Cabane Cubaine – a club located rue Fontaine where he had caught the Latin fever. Francisco's music was therefore heavily marked by his Cuban cousins' influence, which gave the combos he led a specific style and also led to renewal. Things were swinging hard in La Savane, located in the main square in Fort-de-France. He set up the Shango club close by and tested out the biguine lélé there, a new music formula spiced up with Latin rhythms. Soon afterwards, fate had him fly to Puerto Rico and Venezuela.

As for percussionist Henri Guédon (percussions were only a part of his many talents), he was born in Fort-de-France in May 22nd 1944, the day marking the celebration of the abolition of slavery. As an old man, he could remember that in " his father's Teppaz, a lot of hectic 6/8 music was constantly playing...". In the opening lines of his Lettre à Dizzy, a small illustrated collection of writings published by Del Arco, he highlighted the huge impact that cubop had on him as a teenage boy, around 1960. He eventually turned out to be the lider maximo in La Contesta, a big band steeped in Latin jazz. He was also the one who originated the word zouk to describe music which brought the sound of the New York barrio to Paris. It was the culmination of a journey that started in Sainte-Marie: "a mythical place for bélé, the equivalent of Cuban guaguancó". In the early 1960s, the tertiary economy developed to the detriment of agriculture. Yet rural life was where roots music emerged in Martinique and in Guadeloupe.

Record companies played a major part in the process of Latin versions sweeping across the islands – before reaching everywhere else. Producer Célini, boss of the great Aux Ondes label, and Marcel Mavounzy, both the head of Émeraude records - a firm which was founded in 1953 - as well as the brother of famous saxophonist Robert Mavounzy, were big names to bear in mind. Although there were many of them - all of whom are featured on this record - Henri Debs was definitely the major figure in the recording adventure. He proved to be so influential that he even got compared to Berry Gordy. In the mid 1950s, when he acquired his first Teppaz, he worked on his first compositions: a bolero and a chachacha. Then, he became the one man who made people discover Caribbean music, from calypso to merengue. He was among the first ones to rush out to San Juan, Puerto Rico, to buy records and distribute them through a store run by one of his brothers in Fort-de-France. He had members of the Fania All Star come and perform there, which he was madly proud about. He was also the first one to pay attention to Haitian music, such as compas direct and various other rhythms which would soon flood the market. As a result, many of the combos hitting his legendary studio would end up boosted by widespread "Afro-Latin" rhythms. However, he never denied his identity: gwo ka drums were given a major role, although they were instruments which had long been banned from the "official" music spheres. The present selection bears witness to such a creative swarming. Here are fourteen tracks of untimely yet unprecedented cross-fertilization: all types of music rooted in the Creole archipelago have found their way, whatsoever, to the tracklisting. Whether originating from the city or being more rural, they all go back to what Edouard Glissant, in an interview about the place of West Indian music in the Afro-American scope, called "the trace of singing, the one which got erased by slavery." "It is so in jazz, but also in reggae, calypso, biguine, salsa... This trace also manifests through the drums, whether Guadelupean, Dominican, Jamaican or Cuban... None of them being quite the same. They all point to the idea of a trace, seeking it out and connecting to each other through it. This is the hallmark of the African diaspora: its ability to create something new, in relation to itself, out of a trace. It may be the memory of a rhythm, the crafting of a drum, a means of expression which doesn't resort to an old language but to the modalities of it." The opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira – Ray Barretto was a major New York drummer influenced by Charlie Parker and Chano Pozzo – is magnificently performed by Malavoi, a legendary Fayolais group (i.e from Fort-de-France). Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. It symbolically closes the circle as it is a genuine potomitan of Martinique culture which also functions as a tireless campaigner for Afro-Caribbean music. Practicing the danmyé rounds (a kind of capoeiria) to the rhythm of the bèlè drum, it delivers a terrific Caterete, a kind of champeta of Afro- Colombian obedience which was originally composed by Colombian Fabián Ramón Veloz Fernández for the group Wgenda Kenya. The icing on the cake is Brazilian Marku Ribas, who found refuge in Martinique in the early 1970s, bringing his singing to the last trance-inducing track. These two "versions" convey the whole tone of a selection composed of rarities and classics of the tropicalized genre, swarming with tonic accents and convoluted rhythms. It is the sort of cocktail that the West Indians never failed to spice up with their own ingredients. For instance, the Los Caraïbes cover of Dónde, a famous Cuban theme composed by producer Ernesto Duarte Brito, has a typical violin and features renowned Martinique singer Joby Valente and his piquant voice.



The track used to be – or so we think – their only existing 45rpm. The meaningful Amor en chachachá by L'Ensemble Tropicana, a band which included Haitian musicians among whom was composer and leader Michel Desgrotte, also recalls how Latin music was pervasive in the tropics in the mid-1960s. They were the ones keeping people dancing at Le Cocoteraie in Guadelupe and La Bananeraie in Martinique. Around the same time, another "foreign" band, Congolese Freddy Mars N'Kounkou's Ryco Jazz, achieved some success on both islands by covering Latin jazz classics – such as their adaptation of Wachi Wara, a "soul sauce" by Dizzy Gillespie and Chano Pozo whose interweaving of strings and percussions can have anyone hit the dancefloor. How can you resist Dap Pinian indeed, a powerful guaguancó by Eugene Balthazar, performed by the Tropicana Orchestra and published by the Martinique-founded La Maison des Merengues? It also acts as a symbol of the maelstrom at work. Going by the name Paco et L'orchestre Cachunga, Roger Jaffory used to play guaguancó too: his Fania-inspired Oye mi consejo is one example of his style. Baila!!!!! Dancing was also one of the Kings' focus points. Oriza is a Puerto Rican bomba and a "classic" originally composed by Nuevayorquino trumpeter Ernie Agosto, which reserves major space for brasses, giving it a special sheen.

Emerging from the New York barrios crucible was also La Perfecta, a Martinique group originating from Trinidad, whose name directly references the totemic Eddie Palmieri figure as well as his own band, also called La Perfecta. Here they borrow Toumbadora from Colombian producer and composer Efraín Lancheros and interpret it by emphasizing percussions, which set fire to the track even more than the wind instruments. The same goes for Martinique's Super Jaguars, who use Tatalibaba – a composition by Cuban guitarist Florencio "Picolo" Santana which was made famous by Celia Cruz & La Sonora Matencera – as a pretext for sending their cadences into a frenzy. In a more typically salsa vein, the Super Combo, a famous Guadelupean orchestra from Pointe-Noire that was formed around the Desplan family and had Roger Plonquitte and Elie Bianay on board, adapt Serana, a theme by Roberto Angleró Pepín, a Puerto Rican composer, singer and musician also known for his song Soy Boricua. Here again, their vision comes close to surpassing the original. In the 1970s, L'Ensemble Abricot provided a handful of tracks of different syles, hence reaching the pinnacle of the art of achieving variety and giving pleasure. They played boleros, biguines, compas direct, guaguancó and even a good old boogaloo - the type they wanted to keep close to their hearts for ever, "pour toujours", as they sang along together in one of their songs. Léon Bertide's Martinican ensemble excelled at the boogaloo which had been composed by Puerto Rican saxophonist Hector Santos for the legendary El Gran Combo.



Three years later, in 1972, Henri Guédon, with the help of Paul Rosine on the vibraphone, tackled the Bilongo made famous by Eddie Palmieri. Such a classic!!!!! And so were the Aiglons, the band from Guadelupe: choosing to execute Pensando en tí, a composition by Dominican Aniceto Batista, on a cooler tempo than the original, they noticeably used a wonderfully (un)tuned keyboard in place of the accordion. On the high-value collectible single – the first one released by Les Aiglons under the Duli Disc label – there is a sticker classifying the track under the generic name "Afro". Now that is what we call a symbol. Jacques Denis

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

*Re-press of first-time 7″ release / limited 300 copies red vinyl / Shipping from 11 August* If you were part of a clubbing tribe in 1994 – any clubbing tribe – you will have danced to the Ballistic Brothers astounding ‘Blacker’. A track on a mysterious 12-inch that no-one could quite work out if it was a 12-inch single of a cheaply packaged album (it was in effect a 12 inch EP), but in the end it didn’t matter. It provided any DJ with a guaranteed dancefloor winner. A sly mix of beats and samples, it is nothing short of an anthem, and with the full cooperation of the group, we are making it available for the first time as a 7-inch single. The Ballistics – Ashley Beedle, Rocky, Diesel and David Hill – went on to record a further 12-inch EP and two full-length albums, making them one of the cult names of 1990s music. On the flip of this seven is one of their most popular cuts, what at the time was an LP-only track ‘Cubafro Con Amigos’, which has been specially edited for this release. Following the sellout of the first-time 7″ in 2023, we are excited to offer a repress. Limited to 300 copies and pressed on transparent red vinyl in a black disco bag!

Der schwüle Ton von Eliana Glass ist nicht zu überhören - sie wechselt zwischen einer unkonventionellen, suchenden Qualität und ihrer ergreifenden, ehrfurchtgebietenden Bandbreite. Auch ihr Klavierspiel besitzt dieses mitreißende Hin und Her zwischen dem Jenseitigen und dem schmerzlich Menschlichen - jede Melodie ist ihr eigenes, einzigartiges, schmerzhaftes Reich. Glass' spärliche, meditative Musik fängt oft, wie sie sagt, die ,Verdichtung des Alltags" ein, ein Bild, das zu der bittersüßen, flüchtigen und abstrakten Natur ihrer Arbeit passt. Glass' Debütalbum E erscheint bei Shelter Press und ist nicht nur ein zärtliches Porträt ihrer lebenslangen Beziehung zum Klavier, sondern auch eine Destillation ganzer Lebenszeiten. Vier Jahre lang arbeitete Glass mit dem Mitbegründer und Produzenten von Public Records, Francis Harris (Frank & Tony, Adultnapper), und dem Tontechniker Bill Skibbe (Shellac, Jack White) zusammen, um das Album E in verschiedenen Studios in Nashville, Brooklyn, Memphis und Benton Harbor, Michigan, aufzunehmen. Glass' experimentelle, improvisatorische Werke erinnern an den sinnlichen Minimalismus von Annette Peacock, die freudige Rätselhaftigkeit von Carla Bley und die wehmütige Intimität von Sibylle Baier. Ihre Verehrung für die Größen des Leftfield Jazz und der freien Improvisation ist unüberhörbar, aber immer gefiltert durch ihren unverwechselbaren, naturalistischen Sound. ,Dreams" ist eine majestätische Interpretation von Peacocks gleichnamigem Stück aus dem Jahr 1971, ,Sing Me Softly the Blues` ist eine minimale, fesselnde Neuinterpretation von Baiers Jazzstandard mit einem von der norwegischen Sängerin Karin Krog adaptierten Text, und ,Emahoy` ist eine schmachtende Hommage an die äthiopische Pianistin, Komponistin und Nonne Emahoy Tsegué-Maryam Guèbrou und ihre 2006 erschienene Kompilation Éthiopiques. Glass' Musik basiert auf einem taktilen, sprunghaften Klang und ihrer stimmlichen Kraft und Vielseitigkeit. E's glatte Stöße von Kontrabass und Schlagzeug kitzeln den Gehörgang und betonen die Schlagfertigkeit ihrer unverwechselbaren tiefen Stimme, die sonore, androgyne Gelassenheit mit flatterhafter Zartheit verbindet. E hat auch eine rätselhafte elektronische Note, die die verschwommenen Emotionen von Glass' Songwriting noch verstärkt. Von Hintergrundrauschen und windigem Gesang bis hin zu kaleidoskopischen Synthesizern stammen diese subtilen, geschmackvollen Verzierungen oft von speziellem analogem Equipment: einer unterirdischen Echokammer aus den 1960er Jahren, einem Cooper Time Cube (im Grunde das Hardware-Äquivalent der Audioverarbeitung durch einen Gartenschlauch) und einem AEA-Bandmikrofon aus den 1940er Jahren. Aber das bedeutet nicht, dass E veraltet klingt - Glass' Songs sind von einem zukunftsweisenden Geist durchdrungen und fungieren letztlich als Vehikel für ihre berauschenden Emotionen und fragmentierten Erinnerungen und Träume. Glass' eigentümliche stimmliche Alchemie und ihre lebhaften Klavierausflüge sind meisterhaft und ganz und gar ihre Sache, und ihr Debütalbum ist ein Geschenk von klangvoller Schönheit und lohnender Mehrdeutigkeit. Als Musikerin und Improvisatorin ist Glass von der Suche nach Bedeutung, nach Klängen, nach Neuem, nach Verbindung begeistert und beherrscht diese. Und wie Krog 1975 in ,Sing Me Softly the Blues" sang: ,Life's so thrilling / if you search."

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

This 2-LP set brings together both volumes of Fred Steiner and The Royal Philharmonic Orchestra’s recordings of music from the original Star Trek TV series, featuring score cues from classic episodes like The Trouble With Tribbles, By Any Other Name, The Doomsday Machine, and many more. Pressed on Translucent Clear vinyl, the set comes in a gatefold jacket featuring brand-new art from acclaimed illustrator Malachi Ward.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

The Nicky Newarkers were a short-lived—but now legendary—soul‑dance group from Newark, New Jersey, most active in the mid‑1970s. They’re known primarily for their hard‑to‑find 45 rpm single released on Mercury Records from 1976, featuring these two songs “Woman” and “Leave Me Or Love Me” both produced by Cuban‑American Jesus Alvarez with Jerry Ross.
The original Mercury pressings are super rare and highly coveted on the Northern soul and soul‑dance scene on the strength of the highly in demand “Woman”

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

Following their acclaimed debut Spirits, New Zealand"s boundary-pushing jazz collective The Circling Sun return with their sophomore LP Orbits - a deeply layered fusion of spiritual jazz, analog electronics, and percussive groove. Where Spirits explored 1960s influences, Orbits shifts into the mid-"70s, drawing inspiration from Rahsaan Roland Kirk, Yusef Lateef"s Atlantic era, and the Brazilian jazz of Azymuth and Airto Moreira. The ensemble blends arpeggiating Prophet synths and modular electronics with acoustic instrumentation: saxophone, upright piano, vintage drums, and hand-played percussion. Tracks move seamlessly between danceable Afro-Cubanrhythms and expansive, ambient jazz meditations - with layered vocals and choral textures guiding the listener through an interstellar sonic journey. Lush yet accessible, Orbits appeals to both deep jazz heads and fans of ambient, soulful instrumental music.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

Celia Cruz was the undisputed Queen of Salsa. 23 gold albums and seven Grammy Awards attest to her longevity and popularity, and she was active right up until the year before her death in 2003. Eight years later, the United States Postal Service celebrated her life and legacy with a commemorative postage stamp, one of five honouring Latin music greats. She was the most influential female in the history of Afro-Cuban Music (as the Virgin Encylopedia of `Popular Music termed her) and her music lives on. Enjoy this 180g vinyl release and dance and drink a toast to her memory.

Sleeve Records is back with the reissue of a rare and iconic Cuban album by Los Chikichaka aka "Los Caneyes".

All tracks are composed by "Maestro" Juan Pablo Torres. Get ready to enjoy latin psychedelic rhythms that intersect with afrocuban, jazz-funk, psychedelic, latin jazz and bolero.

"The restorations of The Lost Recordings are worthy of those devoted to master paintings." — Le Journal du Dimanche

"We discovered these previously unpublished tapes in the archives of the RBB — the Berlin radio. This discovery is absolutely major because these two incredible musicians had recorded too little together and because this recording offers us the possibility to listen to them in works that were unpublished so far in their discography — notably an extraordinary sonata by Prokofiev! And what can we say about this Bach sonata, with an Andante that brought tears to the eyes of everyone present in the studio at the time." — Frédéric D'ORIA-NICOLAS, Musical treasure seeker

János Starker, cellist, and György Sebok, pianist, were both born in Hungary early in the 20th century. They were welcomed into the formidable Franz Liszt Academy of Music in Budapest, and emigrated to the USA, where they both held the title of Distinguished Professor at the Indiana University School of Music in Bloomington. Both heavy smokers and sometimes reputed — unjustly — to be harsh, austere and insensitive to trends, they were drawn to music in all its varieties and fascinated by its many colours. They had one aim only, one noble objective: to showcase the works all composers, as evidenced by this recording made in the legendary Studio 3 of Berlin Radio on 24 October 1963.

Starker and Sebok were fully imbued with the aesthetics that Prokofiev proclaimed: "I cultivate melody and strive to introduce feeling and emotion into my works. No matter that some call me a cubist, adding that I systematically avoid any emotional or romantic elements in my quest to reach only objectivity."

Next, and at the opposite end of the spectrum, is the Spanish passion of the two pieces by Granados and De Falla, pieces that nevertheless also convey melancholy. Starker and Sebok launch into the works with enthusiasm and intensity.

The last piece, Bach's Sonata in G Major, BWV 1027 for Viola da Gamba and Keyboard, is one of three he composed, probably in Köthen. Because they may have originally been written for other instruments, they can easily be transcribed for the cello and piano. They reveal the rich influences that pervaded the German region during the first half of the 18th century. The two musicians give us a sublime interpretation of the beauty of the counterpoint in this Sonata.

These recordings attest to the importance that the two superb musicians attached to working in the service of the composers. We wonder if, in that enchanted studio in Berlin in 1963, they knew how much further they went to bewitch us and touch us so profoundly.

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

YES! Originally released in 2000, Mark de Clive-Lowe's Six Degrees captures the early essence of what would later be known as broken beat, club-jazz and future soul; bridging the sounds of 70s jazz-fusion, jungle, hip-hop, house and Afro-Cuban rhythms. With fender rhodes, synths and an MPC2000 at the core of his production, de Clive-Lowe blended live musicianship with beat-driven sensibilities in a way that was ahead of its time.

Originally released in New Zealand via Kog Transmissions, the album found its way onto the global stage when Universal Jazz UK picked it up. Now, 25 years later, Be With is proud to present a special anniversary vinyl reissue, celebrating a landmark album that laid the foundation for an international career spanning continents, collaborations, and countless musical evolutions. Limited to just 400 copies for the world, these are gonna fly.

In 1998, a 23-year-old Mark de Clive-Lowe set off on a year-long journey that would shape his career and musical identity. Fuelled by an insatiable curiosity and a grant from New Zealand supporting emerging artists, he traveled across the globe — digging through record stores in San Francisco, immersing himself in the rhythms of Havana, collaborating in London’s underground studios and experiencing the jazz legacy of New York. Along the way, he crossed paths with pioneers, mentors and kindred spirits who would deeply influence his sound.

Six Degrees is the sonic diary of that transformative year — a musical world tour distilled into one groundbreaking album. It's both a snapshot of a pivotal moment in de Clive-Lowe’s life and a timeless statement of creative exploration.

The jazzy jungle vibes of "Roundtrip" opens proceedings, inspired by de Clive-Lowe's deep love of drum & bass. It kicks off with a rhythm pattern picked up in Havana, combined with Lonnie Liston Smith-style Rhodes textures and a rolling jungle breakbeat. Sublime. Up next, "La Zorra" is a moving tribute to the folkloric 6/8 rhythms he was surrounded by in Cuba. Afro-Cuban music had a huge impact on his sound and this track reflects those deep grooves brilliantly. Hip-hop has also been a major influence since de Clive-Lowe's teenage years and Manuel Bundy’s scratches bring an essential turntable element to "Melodious Funk", giving it that raw boom-bap edge.

Underground favourite "El Día Perfecto" came about by de Clive-Lowe wanting to write something as catchy as Incognito’s "Colibri", combined with his deep love for Lonnie Liston Smith. Effortless as it sounds, it pretty much wrote itself, seemingly. "Cosmic Echoes" is a nod to house music, but on the chiller side. Named after Lonnie Liston Smith’s band, with bouncy bass, a steady 4/4 groove and chopped tabla percussion, the mood this track conjures up is special. The deeply soulful "Day By Day" became the biggest track from the album, partly thanks to DJ Spinna’s remix and Café del Mar featuring it on their compilation. Cherie Mathieson’s vocals shine here. The lyric came to de Clive-Lowe while hanging out at Cause Célèbre in Auckland: “Day by day, side by side, hand in hand, no turning back.”

"Restless" is a jazz-funk jam built on a classic drum break, heavily influenced by Roy Ayers and the Mizell Brothers. Named in homage to Phil Asher’s Restless Soul moniker, his impact on de Clive-Lowe's journey can’t be overstated. Following on, "Mindscape" is a darker, rawer drum & bass track. The chopped-up drum break and moody synths channel everything he loved about the deeper, more atmospheric side of the genre. "Control" continues the jungle influence — this one’s all about the heavy grooves and deep bass, inspired by nights out listening to Jumping Jack Frost and Grooverider in packed basement clubs.

"Por La Mañana" is a musical snapshot of walking the Malecón in Havana in the morning sun. The city had such a profound impact on de Clive-Lowe and this track captures some of that energy and movement. Penultimate gem "Motherland" is a nod to his Japanese heritage. The melody draws from Japanese scales, shifting between moody introspection and uplifting harmony. Built on a chopped live drum break he recorded in Tokyo years earlier. We end with "El Día Perfecto (Reprise)", a stripped-down reprise featuring percussion, vocoder, Rhodes and synths — leaving the listener with a warm, uplifting final moment.

Speaking to Be With, de Clive Lowe explained just how much celebrating the 25-year anniversary of this album means to him: "Since then, I’ve released so much more music, but Six Degrees still resonates — it captures a really special moment in my life. A turning point, a fork in the road that ultimately changed everything. It’s amazing to reflect on where this journey has taken me, and I’m incredibly grateful for it. I still remember the night I finished "El Día Perfecto". I took a minidisc of it to my friend Cian’s DJ set at Galatos in Auckland. He plugged it in, and I watched the dancefloor move to something I’d just created hours earlier — it was a magical moment.

When Six Degrees was first released, the internet was still in its early days. There was no YouTube, no streaming, no instant global access to new sounds. The album was my way of bringing together all the music and places I had experienced over that year, blending them into something uniquely mine. It introduced me to listeners around the world and opened the doors to a career that would take me to more countries, collaborations and experiences than I ever imagined.

25 years later, I’m so grateful for everything this record set in motion. It’s a document of a moment in time, but it still feels alive — and I’m thrilled to share it again in this special anniversary edition."

Mastering for this 25 year vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life by de Clive-Lowe himself, with updated liner notes written specially for this landmark reissue.

"For Japanese people, min'yo is both the closest, and most distant, folk music" explains band-leader Katsumi Tanaka. "We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA".

Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: "Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts like Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yo with latin and jazz music."

Lead singer Freddie Tsukamoto fell for min'yo after hearing a song from his hometown on a TV competition whilst in a restaurant. It was a revelation – until then he had been an aspiring jazz singer yet was uncomfortable singing in English. The restaurateur told him a min'yo teacher was his neighbour and the two connected. Tanaka and Freddie formed Minyo Crusaders in 2011 in Fussa, a city where the US military Yokota Air Base is located, in western Tokyo.

Recruiting other local musicians versed in afro and latin rhythms, they began hosting jam sessions at the Banana House, a building that was previously part of the military base and that used to house US soldiers. The band started recording their music, and their debut album "Echoes Of Japan" was released in 2017. It received huge acclaim in Japan and abroad, and was also released by British label Mais Um in 2019. Several European tours followed, as well as some US and South America gigs.

In this second opus, the Minyo Crusaders take us on a trip to Japanese folk songs fused with latin rhythms. Their unique arrangements breathe new life to classics like Kiso Bushi, Sado Okesa or Soran Bushi, among many other min'yo songs from all over Japan that were originally performed by Japanese fishermen, coal miners and sumo wrestlers hundreds of years ago. The magical groove created here proves once again that the Minyo Crusaders are one of the most dynamic representatives of the current Japanese world music scene. Yoi Yoi, Enjoy!

Ein Abend, der fast 30 Jahre auf sich warten ließ! Was einst ein Witz in der Fernsehserie Die Simpsons war,
wurde am 10. Juli 2024 Wirklichkeit, als Cypress Hill zusammen mit dem London Symphony Orchestra
in der historischen Royal Albert Hall auftrat. Cypress Hill & das LSO unter der Leitung von Troy Miller
präsentieren das Vierfach-Platin-Album „Black Sunday“ in seiner Gesamtheit mit einzigartigen Orchesterarrangements, die von den Originalaufnahmen von DJ Muggs inspiriert sind, sowie eine Reihe von Songs aus
dem umfangreichen Katalog der Band. „Black Sunday Live At The Royal Albert Hall“ ist auf 180g-Vinyl
gepresst und die Matrizen wurden mit halber Geschwindigkeit geschnitten, um eine hochwertige und präzise
Wiedergabe zu gewährleisten. Außerdem erhältlich als 2CD sowie als 2CD inklusive BluRay oder DVD, die
den Konzertfilm enthalten.

'I Choose You' 3 Winans Brothers Feat. Karen Clark Sheard remixed By Louie Vega is the very reason house music is known around the world as A SPIRITUAL THING! House and Gospel have shared a dance floor from the very start thanks to pioneers like Louie Vega who harness the joy and inspiration of Gospel with the motivational energy of House. Never was this more evident than in the 1st project Louie Vega and 3 Winans Brothers Featuring The Clark Sisters came together for in 2015, DANCE which was a world renowned sensation and the catalyst for 'I Choose You'.

'I Choose You' is the result of a combined 20+Grammy Award Winning artists THE WINANS BROTHERS & KAREN CLARK including our very own Louie Vega's Grammy win bringing forth music that not only stands out but is an undeniably exceptional sound that will undoubtedly reaching past the top of the charts to blaze a path for music that celebrates being thankful for the life we are given! The 3 Winans Brothers, Bebe, Marvin and Carvin, have come together yet again with their love for writing, singing, and performing music with 'I Choose You'. Karen Clark Sheard having laid down new vocals produced by Bebe Winans himself coupled with the additional Winans soulful vocals completely enhance the reaffirming message 'I CHOOSE YOU... the POWER of HIS Love, I could NEVER deny it'.

Louie Vega has once again delivered the ultimate composition and arrangements to complement the beauty that lives in the message of 'I Choose You' and brilliantly elevates the powerful voices of the Winans and Karen Clark Sheard that bring that very deep sentiment of hope and light forward. For music with a message as enlightened as the one in 'I Choose You' Louie enlisted Axel Tosca of Elements of Life band, the Cuban born pianist with an intense passion to bring any keyboard to life who transfers that energy into this exceptional piece. Every single harmony, each key, all seamlessly aligned with in various mixes with engineer Yas Inoue of Vega Records on the boards so that 'I Choose You' can be enjoyed by those looking to fuel packed dance floor or their own individual playlists. The icing on the cake are the new vocals by Karen Clark Sheard, where she is testifying and ad-libbing powerful messages to the world! 'I Choose You' 3 Winans Brothers Feat. Karen Clark Sheard remixed by Louie Vega drop at all vinyl outlets ....AND be on the look out for future performance dates in your country and city.... this message is going world wide!

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

Das Debütalbum der britischen Rock-Band Wunderhorse rund um Leadsänger Jacob Slater als limitierte Clear Vinyl Neuauflage

La Scimmia Records presents: PLANISFERO by Roberto Porzio LSCM05

Renowned Neapolitan keyboardist and composer Roberto Porzio (Parbleu, Psyché, Fitness Forever, The Funkin' Machine and others) makes his highly anticipated solo debut album with Planisfero—a breathtaking sonic journey where tropical rhythms, Mediterranean lyricism, and cinematic orchestrations collide, shaping an intimate and personal musical landscape.

Planisfero blends salsa, samba, and vintage sound library aesthetics with the bold energy of an imaginary Afro-Cuban orchestra. Entirely written, arranged and composed by Roberto, the album is recorded completely live, with no digital shortcuts, becoming a manifesto to pure musicianship and analog authenticity—a rare gem in an era of synthetic production.

Step into a new musical geography—where imagination knows no borders

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

Legendary Latin jazz percussionist Poncho Sanchez returns with his 31st recording, Live at The Belly Up Tavern. Recorded at the iconic venue in Solana Beach, California, this electrifying live album captures the raw energy and passion that have defined Sanchez’s storied career.
A GRAMMY Award winner for Latin Soul (Best Latin Album, 1999), Sanchez has spent decades honoring and expanding the Latin jazz tradition. With a discography that includes classics like Soul of the Conga, Latin Spirits, Out of Sight!, and Psychedelic Blues, his music bridges Afro-Cuban rhythms, hard bop, and soul, bringing the spirit of legends like Dizzy Gillespie and Chano Pozo to a new generation.
Following his tribute album Chano y Dizzy! and the dynamic Live in Hollywood, Sanchez once again delivers a masterful live performance, full of infectious grooves, rich storytelling, and blazing solos. Live at The Belly Up Tavern is a must-have for jazz lovers and fans of high-energy, soulful Latin music.

Proudly presenting our reissue of the sought-after 1978 album 'Ritmo Y Sabor' from Cuban, master bongo player, Manteca. A deep, hypnotic, sonic excursion of Afro-Cuban/mambo rhythms to get lost within. Released in 1978, there are a number of different pressings of the album coming out on labels including GRC, Desca Records and Sound Triangle Records. Stripped-back and low-fi, this is a pulsating hit of instrumental Latin-jazz dance magic.

Predominantly made up of just percussion and bass, the album comes courtesy of Carlos "Rico" Ramirez on bass, Carlos Patato on congas, timbales by Nelson Padron and Lazaro Pla aka Manteca as band leader. A Cuban legend, Manteca rose to fame playing with Ernesto Lecuona and the Cuban Boys. Although he featured on numerous recordings in his home of Cuba, only a handful exist of his as featured soloist or band leader.

A whirlwind of percussive brilliance, ‘Ritmo Y Sabor’ is brimming with energy regardless of the tempo of the track. An instantaneous ability to make you move, the grooves come alive with each new rhythm introduced. Take for instance, the track 'Afro Funky' that more than lives up to its name. A breakbeat Latin-funk workout, with a mighty fine walking bass line that provides the basis for the drummers to vibe off. Elsewhere, 'Rumbon En Casa De Cando' is fast and furious perfect for the jazz dance specialist, whilst 'Sabor A Mantecado' keeps you on your toes with its trance-like repetitive bassline and percussive interplay. 'Cosa De Manteca' is another heavy-Latin funk gem with a rough and raw feeling of relentless yet groove-driven percussion.

A must-have Afro-Cuban, rhythmic funk triumph, that shows Manteca and his band in full flight

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. The 15-track album of new recordings from Zanetti brings together six original compositions by Navarro dictated to the Italian guitarist on a month-long trip to Cuba andreinterpretations of Angulo"s nine original Cantos Yorubade Cuba, which give the record its name.

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. Santería draws heavily on music for its ceremonies. This Afro-Cuban syncretic religion, sometimes called La Regla de Ocha, saw the Orisha deities of the West African Yoruba peoples codified with Catholic saints. Yoruba practitioners, brought by force to the West, continued to worship their gods under the nose of those who sought to dehumanize them by adopting their spiritual language. The chants that became Santería’s prayers were often accompanied by the beat of the batá drum. This heartbeat runs through every invocation, through every sacred song. In the same way that the shuffling chains on the feet of enslaved African peoples dancing defiantly in Colombia birthed the distinctive rhythm of cumbia, syncretism has been present in music as much as it has in religion. It has always been about challenging the odds, about creation, creativity, and heart.

Rita Donte's Ritual is more than an album-it's a journey through time, memory, and sound. Rooted in her Cuban heritage yet enriched by the landscapes and influences that have shaped her path, Ritual is a luminous fusion of tradition and innovation. With the masterful production of Gustavo Guerrero (a.k.a. Augusto Bracho), the album weaves the warmth of the tres, the depth of the leona, and the rhythmic textures of jaranas into a sonic tapestry that feels both timeless and urgent. From the infectious energy of Baila mi guaguancó to the poignant nostalgia of Habana, each track is a chapter in Rita's artistic evolution. Released by Ansonia Records, Ritual is a testament to Latin music's enduring power-a bridge between past and present, Cuba and Mexico, sound and spirit.

Cutta Chase is a UK-based rap artist known for his deeply introspective lyrics, spiritual overtones, and conscious hip-hop sound. Blending raw emotion with poetic flow, Cutta Chase often raps about inner struggles, personal growth, and the pursuit of higher truth, setting him apart from mainstream rap trends. His delivery is smooth yet intense, often laid over ambient, lo-fi, or boom-bap-inspired beats that complement his reflective style.

With the new album "Insomnia" we see Cutta Chase team up with Brighton based producer Bay 29. Together they produce music that feels more like a journey into the soul than a simple listening experience. Ideal for those who seek meaning, mindfulness, and authenticity in their music.

Bestselling second album from 2009 with eleven songs recorded in Mexiko, no overdubs, no effects ! - "Rules" followed the successful debut album "Dreams" from 2006. The song "1517" was used in the video game FIFA 10.

C r e d i t s
Bass: Marcin Öz
Drums: Sebastian Maschat
Electric Piano, Synthesizer: Daniel Nentwig
Vocals, Guitar: Erlend Øye
Vocals (A2): Denitza Todorova, Marcin Öz, Simone Rubi
Mixed by Norman Nitzsche
Recorded by and written-by The Whitest Boy Alive
Lyrics by Erlend Øye
Recorded at Glass Cube Studio and Funkhaus Nalepastraße, Berlin
Mixed at Villa Qrella
Artwork by Geoff McFetridge
Mastered by Bo Kondren

Robson Ponte isn't just anybody. He is the namesake of Reinhard Voigt's first Kompakt 12", one of the label's first big hits. Timeless, cool and unforgettable, the way this snotty, dry football field beat pushes you forward, over it, this constant, almost stoic, mantra-like rap repetition - Robson Ponte, Robson Ponte,...

That was a good 25 years ago. So it's high time to celebrate a bicycle kick with a fitting run to the goal. None other than FC Kompakt centre-forward Juergen Paape has been hired for the remix return match. In the first few minutes of the match, Paape scores with two straight disco-techno crosses! Team captain Reinhard Voigt himself seamlessly follows in the footsteps of the original - dressed in a new, stylish black, white and red sound jersey, he keeps the ball in play with aplomb. From the stands, guest of honour Thore Pfeiffer comments on a hymn-like, sacred ambient lament with an appropriate timbre.

Including art print of the sleeve artwork by Mareena von Cube

Robson Ponte ist ja nicht irgendwer. Und schon gar nicht nur irgendein ehemaliger Spitzenspieler von Bayer Leverkusen, sondern der Namensgeber der ersten Kompakt-Maxi von Reinhard Voigt - einer der frühen, großen Hits des Labels. Zeitlos, cool und unvergesslich, wie dieser rotzig-trockene Bolzplatz-Beat nach vorne schiebt - darüber diese stete, fast stoisch mantrahaft gerappte Wiederholung - Robson Ponte, Robson Ponte,...

Gut 25 Jahre ist das nun her. Höchste Zeit also für einen Jubiläums-Fallrückzieher mit angemessenem Zug zum Tor. Kein Geringerer als FC-Kompakt-Mittelstürmer Jürgen Paape wurde für das Remix-Rückspiel verpflichtet. Der wirft sich gleich voll rein und versenkt schon in den ersten paar Minuten zwei geradlinige Disko-Techno- und eine gedribbelte Schaffel-Flanke aus 25 Metern ins Tor. Mannschaftskapitän Reinhard Voigt selbst knüpft nahtlos an das Original an - verpackt in ein neues, schickes Sound-Trikot in schwarz-weiss-rot, hält er mit souveräner Sicherheit den Ball im Spiel. Von der Tribüne aus kommentiert Ehrengast Thore Pfeiffer mit passendem Timbre ein hymnisch-sakrales Ambient-Lamento.

For a project which made its debut in 2024 with next to no fanfare nor hype, rush2theUnknown managed to capture the attention and the imagination of a number of notable DJs across genres, tempos and timezones in their debut year. From legendary chillers Kruder & Dorfmeister picking up on the more Japanese VGM influenced side of their music, techno DJs like Courtesy, Anastassia Kristensen and Nastia drawn towards their more celestial-tinged breakbeat offerings and key support coming in from many trailblazers past and present of the genres that shaped the duo thirty years back. Support from artists and DJs around the world saw rush2theUnknown's music aired across Kool FM, Rinse FM, NTS, BBC Radio One, and thanks to impassioned support from punky-reggae icon Don Letts, multiple spins on the Rebel Dreads legendary BBC Radio 6 show.

With the foundation laid rush2theUnknown return to Diskotopia with the "Yugawara" EP.

Early support for the Yugawara EP has already seen responses from and tracks from the EP played by DJs like Machinedrum, DJ Flight, Addison Groove, dBridge, Gyrofield, Joakim, I:Cube, Courtesy, Cici, Sakura Tsuruta and more in clubs and on radio like NTS, Kool FM, Rinse FM and BBC Radio One, and BBC 6 Music.

Born from a journey out of Tokyo to the seaside town of Yugawara in the northeastern end of Izu Peninsula, the EP channels the energy, spirit and mathematically impossible coincidences that seem to come with each adventure the duo has in that part of Japan. Each morning the duo would leave their makeshift studio and wander across the hills of Yugawara. Be it a random encounter, a conversation or mental picture sparked by the visual scenery before them, new tracks came to life each day. As with their Diskotopia debut, each EP is a mix of the myriad influences the duo have accumulated since their teenage years living on outer ends of the Pacific Ocean.

From the technicolour aqua-jungle of "View From Fuua" which bursts with Logical Progression era Good Looking Records exo-planet optimism, through to the EPs closer, "Zuio-ji" a track that owes as much of a debt to the ancient Japanese court music of gagaku, as it does the 1960s soundtrack work of composer Toru Takemitsu and the jidaigeki infused breakbeat experiments of a mid 90s Rupert Parkes. Shades, tones and hues plucked from CD-ROM era "Visual Scenes" 80s CM Music and the techno-animism of synth-heavy anime soundtracks can be found on the EPs more VGM-leaning excursions "光のトンネル" and "夜明けの真鶴岬" whereas tracks like "Physical Reality" continue the question posed on their debut:What would a breakbeat tradition look and sound like, had it been forged a billion light years away?