Cerca:jazz n groove

On this Caribbean island that is Cuba, El Tipo is a pioneer of Hip Hop. The founder of Obsesion group with he has committed three albums, traveled Europe, Latin America, United States. He has invested the mythical scene Apollo Theater of Harlem, shared the stage with The Roots, Common or Kanye West, integrated the Gilles Peterson’s band for the Havana Culture Tour. 500 LTD!In the world of beatmaking, Al Quets (originally known as Quetzal) is a figure. An instrumental designer who cut, loop, program, cadence, compose. A name marked by 5 albums and collaborations with Onra, Guts, La Fine Equipe ou Milk Coffee and Sugar. Between the French beat maker and the cuban MC, there’s thousand of kilometers but a desire to connect so strongly that no force could have prevented the meeting. So, rather than exchanging digital files , Al Quetz preferred swallowing on the same frequencies. Together they drew on all the musical currents of the island and around, absorbed Afro- Cuban sounds, added the freedom of jazz, the metronome of hip hop grooves, smoking riddims and heavy bass of the Jamaican neighboor.

21-year-old New Zealand musician Arjuna Oakes's debut EP,
The Watcher, is a showcase of his ability as a singer-songwriter, instrumentalist and producer, and a testament to his depth of engagement with music. The first two tracks on the EP fit neatly
within the jazz-infused soul music landscape he is quickly becoming part of, but the latter half of the EP is far harder to categorise.

Featuring instrumentation from some of New Zealand’s most exciting young jazz musicians, The Watcher explores a wide variety of themes and musical ideas, with Arjuna’s charismatic soul vocals and robust sonic palette serving as a connective thread. From big social issues to personal relationships and internal self-discoveries, across The Watcher, Arjuna takes his cue from the title track and exploration of mass surveillance, and it’s relevance within our everyday lives.

This watcher theme continues throughout the rest of the EP, with the stories told rendered as if being observed by an outside force. Decorated by cinematic soundscapes, hypnotic grooves, creative improvisation and catchy melodies, Arjuna's debut is a test palette for his future projects, one that makes his enthusiasm to develop and explore themes and style in song abundantly clear.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Intheboothsteps up with a diverse 3rd release. Nat Wendell kicks it off with a deep, bumpy groove complimented by a hint of soul. Alex Arnoutsteps up with a sleazy, rough, analogue type track to close the A side. The flip sidesees a Paolo Rocco edit of a remix Pijynmandid for Chez Damier and Ben Vedren'sproject H2H, while the record closes with a Pijynman original filledwithcorky jazz samples and chops. All in all the label sticks to it'sroots style selectionthatcatersstrictly to the house heads.

These two new tracks continue to push the band’s sound into new territory; ‘Overture 1’ is a brand-new composition from Ruby Rushton keyboard player Aidan Shepherd. Taking inspiration from bands like Weather Report and Soft Machine, it's explosive introduction leads you to a dub-like breakdown, creating an open space for Shepherd to let loose his synthesizer for some deep space, Headhunters’esque exploration.

Yardley Suite - is a song first conceived by band leader Ed ‘Tenderlonious’ Cawthorne back in 2012. Having lied dormant for several years it felt like an appropriate time to pull it back out the bag. It’s a composition inspired by Cawthorne’s solo work as an electronic producer, under his alias Tenderlonious. Always wanting to merge his various approaches, ‘Yardley Suite’ is the perfect mix of Jazz and House. With a steady four to the floor beat and snappy horn lines it's sure to work its magic on dancefloors around the globe.

Having focused on improvisation and more “open” compositions in the past, the bands new direction is geared towards tighter, more groove-orientated arrangements. This exciting new material is yet further evidence that this is a highly prolific band at the top of their game, continually evolving, stretching out their own unique sound across the full jazz spectrum.

DJ Support: Tom Ravenscroft, Bradley Zero, Huey Morgan, James Endacott, Kev Beadle, Chris Phillips, Tony Minvielle, Tim Garcia, Delia Tesileanu, Kamaal Williams, Al Dobson Jr, Contours, Poly-Ritmo.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with the fourth instalment of his popular 'My Life at 45' series. Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

A-side 'Boom!' features the vocals of the UK's leading blues & soul singer – John Turrell. Mr Turrell recounts the sorry tale of a man who has burned the candle at both ends, leaving him with just his recriminations and a great slab of wax on his hands.

As always though, with JT, it's delivered with humour "I've got the Tuesday tears, got the Wednesday woes – my serotonin too low …"
On the flip 'Steppin' In' is a low slung beat fest that is guaranteed to make your head nod, as piano, guitar & Hammond ride a tight jazz funk groove.

Mutual Intentions is proud to present “Mutual Friends" - their first compilation. The compilation is put to life by Stian Stu from Mutual Intentions and features top notch, jazzy hiphop beats from producers
such as FloFilz, Bluestaeb, Fredfades, Elaquent, Ol’ Burger Beats, SRAW, 10.4 ROG, Yogisoul and many more. Artwork by Boiler Room’s own Joe Prytherch.

They Say: “Descriptive scores for scenes of visual impact”.

We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Christopher Joseph is back on his Flexxseal label with four enthralling tracks entitled "Eye in the Sky".
He's an emerging talent from from Massachusetts who now resides in Berlin. His productions encapsulate, his vast musical background which includes studying Jazz percussion and living in the vibrant musical hubs of New Orleans and Berlin.

"Eye in the Sky" sees Christopher return to his invigorating Flexxseal imprint following releases from himself and Philadelphia's DJ Richard which together garnered heavy support from the likes of Ben UFO, Call Super, A Made Up Sound, I-F and many more.

"Eye in the Sky" kicks off proceedings with ethereal leads floating underneath electro-fuelled percussion and swirling synths together sending the emotions skyward while vigorously, resonant drums fused with rave- induced modulations and twisted melodies lay the focus in "Lick The Honey".

On the flip, "Nothing69" delivers growling resonations, breaks-tinged drums and otherworldly arpeggios that keep you enticed throughout until "Leaving Ringworld" rounds things off with a vintage, warehouse techno track featuring an effervescent, rolling groove sequence, spiralling oscillations and industrial feels throughout.

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

Vinyl Only. Produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame Label logo by manga legend Shintaro Kago. Archival reissue of rare 1984 jazz-funk fusion diamond in the rough by German-Australian-British madcap ensemble Bells of Kyoto, produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame. Fusions grooves with Orient-funk detours and looking out the window of a Swissair aircraft moments of cool mid 1980s contemplation.

Highly recommended to porthole dreamers, seasoned mind travelers, inventive dancefloor adventurers, and dogs who like to stick their head out the car window.

Drums - Alex Friedrich
Electric Bass - Peter Drefahl
Mastered By - Rico Sonderegger
Piano, Bells - Peter Waters
Producer - Bells Of Kyoto, Laurie Carls, Ollie Marland
Recorded By - Laurie Carls, Ollie Marland
Synthesizer, Guitar, Percussion - Ollie Marland

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

"The Red" EP by Dominique Fils-Aimé released on vinyl for the first time with new cover art. Special edition Black Friday 2019 pressing.

Dominique Fils-Aimé is a Polaris Music prize-nominated singer-songwriter from Montreal who draws inspiration from soul icons of the 40's and 60's such as Billie Holiday, Etta James, and Nina Simone. While her musical roots are grounded in early soul and jazz, her sound transcends contemporary urban soundscapes.

Dominique's self-produced debut, "The Red" EP, was originally released in 2015. This new version from KingUnderground has been fully remastered and includes a live version of "Love of Yours" as well as two bonus instrumentals.

Sultry vocals follow melancholy guitar and organ on "Like Mama Said." Dominique's calming voice is akin to a meld of Sade and Amy Winehouse. While the edgy 'When You See Me'' has a hypnotic, catchy groove and chorus, she shows off her versatility with a stripped down, acoustic blues-tinged piece on "Ok With You."

The songs were recorded live in the studio in only a few takes with minimal overdubs to capture the unconstrained depth of expression and natural impulse. The faintest of imperfections in the recordings were preserved in an effort to speak the truth, as the nature of her songs reflect on the vulnerability and strength in each of us and their delicate balance. Dominique unifies each song on the record with empowering lyrics, bringing such a commanding voice and precise delivery, you could almost imagine her singing the theme for a new Bond movie.

This cinematic RnB & jazz-inflected debut by one of Montreal's finest soul singer-songwriters is available for the first time on high-quality vinyl.

Da Lata’s highly anticipated fourth album Birds is a genre busting journey through London Afro-Brazilian soul music.
The most homogeneous Da Lata record to date, Christian Franck has honed his craft and expanded his art to create a glowing testimony from the melting pot of the capital’s musical life.

Gathering his family of collaborators with diverse musical backgrounds in soul, jazz, and gospel as well as African and Brazilian forms, Birds is an album that finally lays waste to that tired idea of World music.

There are tracks that are inspired by Chris’ journeys to the source, there are elegant horn and woodwind arrangements recorded in Belo Horizonte, Brazil, there are lyrics in different tongues, but this is a London record.

Birds is an album of warm organic grooves infused with sophisticated funkiness and splattered with instrumental colour. From the Afro skank swagger of the low slung opener Mentality to the Beatles-esque pathos of the closing title track, it’s a record packed with soulful surprises and beguiling rhythms.

The sound is both intimate and expansive, drawing the listener into Da Lata’s London tropicalia and out into the cosmos.

Birds is an album about keeping doors open and conversation flowing, it’s about survival, hope, family, resistance, awareness, unity and love. 

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone.
A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others.
He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners. Fans of jazz, funk, rare groove and Brazilian music in general will appreciate the strong vibes of this original track and be delighted to finally have this record in their hands. The track represents a unique moment in the career of a great musician fully in control of his instrument and more than willing to test its musical boundaries. Zeca continues to play out as an artist regularly in Brasil right up to the present time.
On the flip side, Sambacanas, or Os Sambacanas as they were sometimes also known, were a group of Samba musicians recorded by the Sao Paulo based producer Julio Nagib.
Although they were mostly known for a samba covers LP entitled 'Sucessos Da Juventude Em Tempo De Samba' (re-released in the UK under the title 'Fly Me To Brazil'), this song, Panga, Danga, Panga, was the A side of their only 45 single release for Top Tape which came out in 1976. Again this track has never been re-released before in its 45 single version, and has not been made available digitally. A beautiful example of raw and simple Batucada-style Brazilian samba music infused with Latin funk vibes, it features excellent vocals and percussion including the berimbau and cuica. Club Internacional hopes you enjoy this journey back to rediscover these very different, but wonderful, long lost sounds of Brazil on this limited edition vinyl 45 pressing to add to your record collection. Each Club Internacional edition may take some time, but it will be worth the wait!

Released in Japan on the legendary Jazzy Sport imprint

180g heavy vinyl, comes with download card

Former member of the Kingdom Afrocks band and one of the most talented artists of today's Japanese music scene, drummer and multi-instrumentalist Naoito creates with "dotA" an explosive and unique mix of spiritual jazz, afro flavors and soul.

Sung in Japanese and English and bringing the very best musicians of Tokyo's underground scene, "dotA" is released in Japan on the legendary Jazzy Sport imprint. 180g is proud to bring to the international audience this essential album of contemporary grooves straight from the far-east!

People of Earth finishes 2019 strong with it's twelfth release from UK singer/songwriter OMAR. The track "Benefit" was written and performed by Omar and originally appeared on Boddhi Satva's "Transition" album in 2015. Now we have two legendary producers on remix duty, Alton Miller and Kai Alce.
Each lending their signature styles to the vocal.
Alton gives the vocals a special treatment. A silky smooth mix with a fierce baseline, jazz influenced keys and a hefty dose of rhythmic percussion. A peak time track that continuously bumps. Kai honors us with three mixes. His vocal mix has us dancing with old school chords, lush pads, a swinging house beat and an added Roy Ayers vibe. In addition to the instrumental dub we have a the Dub 2 mix which is a solid groove with vocal chops.

Cork native Colm K has been making waves on both the Irish and international scene since his selection for the Red Bull Music Academy in 2003. With releases on Bastard Jazz, r2, and his recent efforts on All City Records, First Word Records and Tiff's Joints, Colm K has earned his place on both critics' and fans' radars.

KFU(RN) sees Colm return to Tiff's Joints after 2018's Beginnings/Six Four Hundred with four of his heaviest dancefloor offerings yet, which have already picked up support and plays from the likes of Alexander Nut, Laurent Garnier, Detroit Swindle, Red Rack 'Em and more. One the A-side, Lady is a heavily swung uptempo house jam, built around a masterfully flipped vocal and piano line while "Apart" sees an ominous arpeggio dart between warping sub bass and gritty drums. On the B-Side, "KFU(RN)" delivers a riotously fun synth line backed up by a rock solid groove and "Diffraction" bounces from start to finish with a Mr. Fingers-esque bassline, driving the track forward and a celestial pad drifting in and out of the mix, bringing the EP to a close.

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

Humans is the new album from sought after international touring band the London Afrobeat Collective. From Europe to Africa, Glastonbury to Nigeria’s annual ‘Felabration’ festival, LAC
deliver party music born of their truly global DNA. The nine-strong collective from England, Congo, Italy, France, Argentina and New Zealand combine diverse influences such as Fela, Parliament Funkadelic and Frank Zappa to create an eclectic sound drawing on funk, jazz, rock, and dub to create something addictive and unique.
Their 2015 album Food Chain, received widespread radio support on stations such as BBC 6 Music, Radio X and BBC Radio 2, as well as glowing reviews in The Sunday Times, London Evening Standard, Blues & Soul and Songlines Magazine to name just a few. The new album Humans, (featuring artwork by Ben Hito, renowned for his designs for Parliament / Funkadelic), is a collection of anthemic songs with socially conscious lyrics, set to bold brass lines and hypnotic danceable grooves. In 2015 the London Afrobeat Collective toured Nigeria, appearing several times on national TV and performing in front of ten thousand people at the New Afrika Shrine during ‘Felebration’. They are no less respected in their home town, having collaborated with the likes of Dele
Sosimi and supporting legends such as Ebo Taylor, Fred Wesley And The New JB’s, Tony Allen, and Fela’s son, Femi Kuti.
LAC are now globally recognised for what they really are: not a tribute, but an ever evolving, international band of expert musicians, continuously inspiring each other as they create distinct, sincere and powerful music. Humans is an accomplished work with international flair and cultural relevance from London to Lagos.

Italian producer and Fine Human Records label head Dino Lenny lands on Crosstown Rebels for the first time this November, bringing his distinct and personal style to the label on the absorbing Doctor, also featuring a remix from Nuiton. The haunting, emotive vocals of Dino impress throughout on Doctor, chugging groove moves alongside waves of dark electronics and panic-struck, devilish synth. A track crafted to capture the inner workings of Lenny’s mind, transforming them into a hypnotic piece. Nuiton remixes Doctor on the reverse, adding energy to the original with skipping hats and quirky arrangements, building tension that reaches an intense jazzy crescendo of percussion and brass to leave you in a headspin. On the digital release a dub version loses the voice but retains the mysticism. With almost 30 years of releasing records under his belt, Dino Lenny has naturally built an incredible back catalogue of remixes and collaborations. He’s worked with some of the biggest names in the business, yet his productions retain a unique style that is all his own. A true lover of the 80s, when he needs that extra touch he will add his vocals to the music, always trying to deliver something original that will stand the test of time, often opting for imperfect unique experience over precise emotionless never-ending loops. Alongside this, he has remixed huge names like Missy Elliott and Timbaland and has collaborated with legends including Madonna, Wu-Tang Clan, Seth Troxler and Dixon. Lenny has been named as “a wizard of electronic music” by the Chemical Brothers, played live with Underworld, released music on the likes of Crosstown Rebels sister label Rebellion, Innervisions, Diynamic, Cocoon & Correspondant, and is currently signed to Ellum. Constantly evolving his sound, Dino is unpredictable & eclectic.

Brighton cinematic psych combo MNP returns to Delights with two sides of brain-melting excellence:

On the A-side, the band steps into a crime jazz-psych territory with "Chicxulub", while the moody groover flipside "Linus" shifts towards space-age mystique.

Recommended for fans of: The Natural Yogurt Band, Drumetrics, The Heliocentrics.

The modern funk connaisseurs Voyage Funktastique are back with the second release from their blooming label. This time they are dropping a boogie gem from Toronto's The Kount on a scorching 7" that will have DJs flipping both sides. Bungalow's slowburning groove and bumping bassline is the perfect track to get the dancefloor warmed up while Shakedown is dripping with The Kount's signature polyrythmic molasses. Falcxne's smooth vocals and G-Funk influences make for a killer 2 sider that is sure to sell out just as quickly as VF's first 45! Another essential crate filler brought to you by these funktastical ambassadors.

Before an upcoming album in 2020 on Heavenly Sweetness, Mama is the first single. A track in which the balafon’s woody resonance, the meditative flute and the female choruses return to the Creole roots of David, recall the memory of his Caribbean grandfather exiled to New York but, above all, a title dedicated to his grandmother, who after the last soaring electro-disco, she comes to declaim the text on the ultimate measures. David Walters will have thought of it, conceived and realized in close collaboration with Patchworks. Then, in the wake of the single Mama released in the month of each of them took the title, isolated himself in the studio with instruments and machines to come out only with a total reinterpretation, but especially personal, of the title. Hammering bass drum and snare drum bursts, David has entrusted the direction of operations to the rhythmic, and it is one after the other that digital elements were invited to transform the original maternal softness into a boiling soundsystem. Synths their strings on the hum of the bass, the hypnotic power of the riddim remains.
Two remixes, two atmospheres. The Patchworks scene is set in a jazz-funk setting, an heritage from Roy Ayers and Lonnie Liston Smith. Powerful drum, enrobing bass, the Fender Rhodes becomes a soloist, motivated by this irrepressible groove, first become a soloist. And that the meshes leave the hands of the balafon player to pass in those of the vibraphonist.

With SOUL FOOD II, KOGNITIF remains consistent with his previous release, and delivers once again, a high-powered Soul-Electro album.
The colorful, dancing universe of this beat-maker is filled with Hip-Hop, World Music and Jazz, mingled with Funky Trip-Hop beats.
This is food for the soul !

KOGNITIF is a self-taught musician and a Trip-Hop/Abstract Hip-hop producer.His music incorporates various influences and offers a plentiful Soul Groovy Funky Beats buffet.
After SOUL FOOD, his successful 3rd album, SOUL FOOD II comes as the second volume of a great collection with the same ingredients, but a different recipee.
KOGNITIF is now a major figure in the "à la française" Tip-Hop, in France and abroad.

Orange Vinyl

With "Steamy!" Jukka Eskola Soul Trio reaches its second album on Timmion and delivers another sure-shot for the soul jazz thirsty masses. As with his first self titled debut, this troupe of premium Finnish jazzers turns all the relevant corner stones of soulful and progressive jazz, never running too far up the deep end, but always harnessed with expressive sensitivity and professional cool. It's like the 1960's and 1970's global jazz movement got condensed into a radiant ball of hipness, heady and completely unpretentious.

In addition to the two single releases "Tiny B" and "Stick Of A Branch" Soul Trio dip their groove jazz chops into numbers such as "Five On Three", the shuffling "Jongo Street" and the fatback funky "Steamy". There's also a strong strain of Brazil on several tracks from bossa nova to richly percussive rhythms. On the over 7 minute long "Smash" they mellow out into a beautiful mood that sounds like John Patton swinging with a bunch of European cats. There's even a few studio tricks that we'll leave for the listener to discover.

Calling the Soul Trio a group of virtuosic players is an understatement as all of them have been working at it on a professional level since the 1990's. Trumpetist Eskola and drummer Teppo Mäkynen were both a part of the Helsinki nu jazz movement of the time, which later evolved into the now iconic Five Corners Quintet, while organist Mikko Helevä has hammered his Hammond in underground Finnish jazz funk groups for as long as his two band mates. Together they cook up a stew, which is like a bowl of perfect bouillabaisse, rich with flavour and with nice bits to chew on.

Moon Diagrams is the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Two years after his acclaimed debut album Lifetime Of Love, Archuleta returns with Trappy Bats, a mini-LP that interweaves three brilliant new Moon Diagrams tracks with radiant reworks from Shigeto, Angel Deradoorian and Jefre Cantu-Ledesma. Trappy Bats was largely recorded in a single night as a means to process the intense intersection of Archuleta’s social, political and personal hysteria. Having been arrested for an unremembered missed court date, Archuleta spent 24 hours in a holding cell, offering ample time to reflect on his life, the current state of the nation (the jail televisions were showing a constant feed of the then-active Unite the Right rally in Charlottesville) and the other inmates. Upon being released the next day, Archuleta found himself suffering from a bout of insomnia and feeling the need to process everything through music. Here, Archuleta is in his freest and most grateful state, channelling the turmoil and confusion he was experiencing into an unencumbered fit of creativity. It’s pure, unadulterated escapism with an even more callous palette of sounds than before, clearly split between two moods. On what you might call the ‘up’ side, the title track could be the sonic spawn of Not Waving and Terrence Dixon: a snarling mix of percussive clatter and washes of orchestral tones coalesce into a pulsating groove across its almost 12-minute runtime, the underlying ’80s aesthetic making it feel like a turbo-charged Shep Pettibone remix of New Order, looped to infinity. Detroit electronica don Shigeto goes even further and implodes the track into a kaleidoscope of bone-jarring, viscerally giddy dance music. Over on the ‘down’ side, ‘Wipeout’ is a slow-motion waltz of dusty piano and clattering percussion loops that coolly stumble along with the woozy, nocturnal flare of The Caretaker or Philip Jeck. The haunted reverie ventures even deeper with a beatifically electrified ambient re-imagination by Jefre Cantu-Ledesma. Daisychain’ goes almost completely off the grid, offering up a sweetly submerged slab of constantly evolving murkiness in the vein of Demdike Stare or a dosed Andy Stott. The sweet shuffle levitates even higher with a celestial re-interpretation by sonic visionary Angel Deradoorian, formerly of the Dirty Projectors. The end result is an extended traipse through Saturday evening fever-dream techno, Sunday morning cigarette jazz-pop and every blank thought in between.

With the ethos 'Quality House Music Never Betray', Eureka! is a driving force in the evolution of quality house music.
Produced by Pablo Valentino, founder of Faces Records with MCDE, this fifth release features collaborations with Kez YM and Simbad; a Eureka! debut... The A side kicks us off with 'Bananas', with its edgy house groove and up-tempo piano riff, followed by the more downtempo chillout jazzy track, 'Inspiracao'.
Side B's 'Space Tribe' brings our journey into the lo-fi, featuring the beautiful echoing synth sounds of veteran London producer, Simbad. ※Pablo Valentino - Space Tribe released digitally only.
*Artwork by Kouhei Asakura *Mastering by Hideo Kobayash

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Dreamteam pairing of Defaultman and Sapurra collaborate on this highly impressive 3 tracker for Poker Flat Wax. The two have collaborated frequently before, and with this vinyl only release, the juices are really flowing. 'Paperman' kicks things off - a slinky mid-tempo groover with an edge. The tight drums keep the rhythm ticking over while dub fx and a thick bassline add the drama and suspense. On the flip comes 'Groove Tutorial' - as fair a name as any when the programming is this good. The beat shuffles and chugs along, always staying fresh and interesting, while a minimal layer of other instrumentation adds depth. 'Lessons Cost' rounds off the EP, a full jazzy-house excursion that showcases the producers’ wide ranging talents and ear for rhythmic excellence.

Dies ist das vierte und bislang unveröffentlichte Album von Kapingbdi, einer sechsköpfigen Band aus Westafrika, die ihren Stil als "African Jazz-Funk-Rock from Liberia" bezeichnete. Es enthält eine exzellente Mischung aus afrikanischen und westlichen Elementen, mit spirituellem Herzen und dynamischen Grooves. Im Januar 1985 und unmittelbar vor ihrer Auflösung nahm die Gruppe neun Tracks für ein abgebrochenes LP-Projekt im Masterpiece-Studio in Detroit/ USA auf. Erst 2019 wurde die Musik sorgfältig vom Original-24-Track-Tape überspielt und remastered. Musik hat für Kapingbdi keinen eigenen Zweck, sondern dient zur Übermittlung einer Botschaft, geboren aus der Erfahrung und Perspektive Afrikas und für alle Menschen bestimmt.

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

With the release of their first two albums and live shows supporting Snarky Puppy, Roy Ayers, Marcus Miller, Larry Mizell & the Blackbyrds, Butcher Brown, Yellowjackets and more, Resolution 88 have already established themselves as one of the UK's leading exponents of funk jazz. Their music is synonymous with the silky, buttery sound of the Fender Rhodes. They're also a bona fide band, a refreshing change in a musical world increasingly occupied by online collaborations and viral videos. They're best mates who love to hang out, play together and make their own music - that sincerity is evident in their songs and their chemistry on stage.


'Revolutions' represents a lot of firsts - the first time Resolution 88 have recorded to multi-track tape, the first time that they've included a real string and brass section, the first time they've included special guests on record and the first time they've pressed an album on vinyl. Imagine a combination of an undiscovered Herbie Hancock album from the mid' 70's, rare-groove samples from the golden era of hip hop (ATCQ, Pharcyde etc) and the new London sound of bands like Yussef Kamaal.

Every track on'Revolutions'represents an aspect of music on vinyl. On'Pitching Up'you hear the DJ pitch the record up from 33rpm to 45rpm.'Out Of Sync'simulates a clumsy attempt at beat-matching. The hypnotic, circling sax line that opens the title track'Revolutions'(echoed by the strings at the end) evokes the mesmerizing sensation of watching the record label artwork whirling as it spins on the platter.'Runout Groove'fades in and out; the drum beat mimics the distinctive, perpetual rhythm tapped out by the stylus as it reaches the runout groove. On the second side,'Sample Hunter'unexpectedly deviates from the main section into Rhodes-drenched interludes; the type of moment that producers searched high and low for back when hip hop was great.Marcus Tenney's (Butcher Brown) lyrics on 'Dig Deep'are all about the thrill of digging for records and'Matrix'is inspired by the hidden messages sometimes left in the matrix markings on record pressings. On'Tracking Force', you can hear the beat twist and morph as the stylus skates over the record. Finally,'Warped Memories'closes out the album with a wistful, melancholy melody. Sit back with a glass of Japanese whisky and a Cuban cigar (or whatever your chosen poison is), stick the album on and enjoy it from start to finish - although if you're listening to it on vinyl, you'll need to get up to turn it over to the B-side ;)

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

A limited edition 7” release by Roy Ayers – taken for the first time from the Change up the groove LP.

DYNAMITE CUTS give you a super fresh loud 45 cuts of these wonderful jazz and funk dancer First time on 45, don’t miss out x500 only.

A) “Fikisha” (to help some one arrive) another monster from the Roy ayers Ubiquity camp, vibe tastic - BANGER!!!!
B) Boogie back (breaks and samples, Djs tools) deep vibes groove, classic

After a steady stream of releases from the 2000 Black label which serve as a first course, Dego returns with his third album ; A full length LP of his contemporary adventures in modern sound. This album combines Dego's consistent forward looking musical explorations with a host of instrumental and vocal collaborators introducing us to new talents and reminding us of those we may have heard before. Dego continues to find new perspectives within the musical landscape.

Collaborating with singers and songwriters all expressing a distinct sense of where, collectively, we are now. There can be no doubt that this is a time of questions in every way, changes in the world and industry that will affect us all. How and what role music plays in this journey is explored as with any artist in a personal and pensive way from a tear to a smile. There is no preaching here, only statements and explorations. Individuality and sonic diversity combine and reflect the many inspirations and evolutions of style. Cooking up a strong and distinct genre-defying mix of soul, two step, funk, jazz, boogie and R&B, all dance music's that focus on heritage and natural rhythms.

Listening to the music is a relief and delight for lovers of groove and song-craft. It's a 21st century statement accessible and raw, whilst highly advanced in sound design and production. Holistic in breadth and deep in vision, it provides a way into this music for many, and challenges the cultural conversation about jazz without compromising or pandering. Music that utilizes a raw and sincere true openness narrative.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…