Pop & Rock News

Late notice on this one, please get orders in ASAP. Clear vinyl is for Indies only. For Fans Of.. Durand Jones & The Indications, Aaron Frazer, Kelly Finnigan, The Altons, Thee Sacred Souls, Thee Sinseers, Malik Malo. Producer, songwriter, and member of Thee Sinseers. Forthcoming debut album on Colemine Records. Joey embodies the East LA sweet soul scene. Featuring Joey Qionones’s debut Colemine single ‘Love Me Like You Used To,’ this 45 epitomizes the artist. Drowning in lush and soulful tracks, both ‘There Must Be Something’ and ‘Love Me Like You Used To’ bring you into Joey’s world, where he embodies the East LA sweet soul scene. This is Joey’s second 45 in collaboration with Colemine Records, but expect a dynamic, rich, and stacked debut LP from him later this year.

- Warren Hampshire from The Bees teams up with pianist Greg Foat

- Recorded with full orchestra all anolog to tape

- Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine.

- Hand made paste back sleeve with 60s style gloss finish.

- Mastered from Tape direct to lathe at Timmion Cutting Studios Finland.

- Sleeve notes by Bob Lind

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. Release June 2017

Operating from the fringes of the South African jazz scene, the enigmatic yet charismatic trombonist and pianist Malcolm Jiyane delivers a major contribution to the canon -- one shaped around dedications to key figures in his personal and professional life. Workshopped and recorded within two days in Johannesburg, UMDALI stretches the idea of what it means to improvise within the context of jazz.

Erstmals auf Vinyl: das dritte Album des armenischen Jazzpianisten Tigran Hamasyan, das 2009 nur als CD erschien. Die meisten Aufnahmen auf diesem Album sind Eigenkompositionen, abgesehen von einigen armenischen Volksliedern, die Tigran neu arrangiert hat. Seine Begleitband besteht aus Areni Agbabian (voc), Ben Wendel (sax, fg), Sam Minaie (bass) und Nate Wood (drums).

Welcome to another sonic treat from the Four Flies 45s series. This 7" combines for the first time ever the two grooviest and sexiest tracks from Gianni Ferrio's score to Steno's detective comedy La poliziotta (The Policewoman), only one of which ("Step by Step") was included in the original (and now very rare and sought-after) 7" released in 1974.

Starting the party is the blaxploitation-influenced funk-blues "Rhythm & Sex" on side A, a tune chock-full of killer drum breaks and driven by an impeccable brass ensemble (a recurring feature of Ferrio's style, due to his exquisite brass arranging skills). On side B, the supercool "Step by Step" takes funky jazz into sultry territory, with the saucy vocalizing of the Cantori Moderni di Alessandroni giving more than a nod to the film's comedy-with-crime atmosphere.

Both tracks demonstrate Ferrio's great mastery as a jazz-funk composer and arranger – a mastery that, back in the day, earned him the moniker of "the Italian Quincy Jones". Listening and DJing pleasure guaranteed!

Polarity, the first album from percussionist and multi-instrumentalist James Larter is a cross-genre Psychedelic journey with driving rhythms at its core.

Larter has always been obsessed with rhythm; whether it be the roaring sound of Brazilian Samba or the intricate and hypnotic drums from the African diaspora, music that makes people move is a passion. He is an in demand musician that has played with a staggering variety of groups and artists

from Sampha to the London Philharmonic Orchestra.

Hailing from the UK and studying in London and New York, his soundscape crosses genres and styles all with a psychedelic twist. Marimba and vibraphone feature heavily with echoes of electronic music played out by an all-star accompanying 10 piece band.

Limited 10" in special tip on sleeve. With influences including Kamaal Williams, Roy Ayers, The Breathing Effect, STUFF. and Black Midi, their sound is rich in texture and depth with an underlying, undeniable groove throughout.

S-Tone Inc., one of the most acclaimed artists on Schema Records, with +300.000 monthly listeners and millions of plays on Spotify, is back with a full rework of his previous full-length "Body & Soul", a homage to the late '70s / early '80s disco music that the artist used to immerse in during those adventurous years. Early '90s British acid jazz, '70s soul, Brazilian and jazz music are here reworked in a nu-disco key, with the exception of the downbeat tracks "Flying Away" and "Midnight Sun" and the 'spacey' "Odoya", rearranged by The Invisible Session without mining the overall mood of this release.

After a sling of instantly sold-out 45s through his Bandcamp (we're talking minutes here), it's tempting to say that Soul Supreme got a Midas touch. But that doesn't do justice to his hard work and carefully crafted reinterpretations of music by A Tribe Called Quest, Madvillain, Mos Def & others. The newest addition: not one but two 45s around Jay Dee a.k.a. J Dilla.


The Amsterdam-based keyboardist/producer takes on 'Let's Ride' (Q-Tip) and 'Runnin' (The Pharcyde) on the first donut. The other 45 contains a medley of 'The Official' (Jaylib) and 'Fall In Love' (Slum Village), and two unsung Jay Dee beats: 'Still Shining,' as produced for Busta Rhymes, which has never seen the light of day as an instrumental. Another never-before-released Jay Dee beat is 'Feelin' Good', an essential case of Dilla's unparalleled ear for swing. Sidetrack: look up the Bling47 Breaks video later with House Shoes's story on giving Jay Dee the Frank Cunimondo Trio record, with a VHS video of T3 and Baatin going crazy in Detroit's The Shelter to Jay Dee's 'Feelin' Good' flip. Pure gold.

The Detroit visionary reimagined 'groove' and sampling. On his turn, Soul Supreme takes on Dilla's timing, rhythms, and harmonies. Think of how in the final part of "Runnin'," the keys start to follow the well-hidden, heavily filtered sample on The Pharcyde's original, instead of the main melody. Or how there's punch to J-Zone's drumming on "Let's Ride" as there's punch to the MPC3000. How Jonny Murray improvises on trumpet rather than replaying the sample. The marriage of Rhodes and synths on "Fall In Love" resemble Soul Supreme's trademark sound as showcased on last year's self-titled LP. Built on top of that, the two 45 releases (sold separately) are all-original takes on Jay Dee-produced classics.

Rare soul/funk album out of Oakland, CA.
Featuring Marlon Hunter along with the Group The Standards Of Living.
Six songs full of jazz/funk groove and Modern Soul atmospheres.
First time released in 1980 as a private press this rare pearl represents a must have for diggers, djs and collectors

Busy is Good is an assemblage of rare-groove and jazz-funk cuts pulled from 45s of the 70s and 80s. A project that celebrates pure creative expression, these under-appreciated tracks reflect the individual efforts of artists both of their time and ahead of it; local legends who challenged convention and produced work steeped in ambition.

From the seductively smooth “Twilight,” by New York’s own Febop, to the blistering key breaks and infectious funk of Bob Payne’s “Side By Side”, this anthology highlights the fusions and crossovers that occurred in jazz, rock, funk and soul at the time. Buddy Emmer’s jazz-kissed breezer “That Summer Nite” and Forest’s synth-pumped AOR cut “Crazy Days” further traverse the many styles that bloomed in the 70s and 80s.

In association with DJ Amir and 180 Proof Records, BBE Music proudly presents 'Strata Records - The Sound of Detroit - Reimagined by Jazzanova', a brand new celebration of the iconic imprint. How does the Berlin-based production collective Jazzanova find itself reimagining songs from the iconic, Detroit record label Strata? "I couldn't think of a more perfect band to do this work," DJ Amir says about Jazzanova, a combination of DJs, record collectors and musicians, "because they brought passion and love to the project, because they know the music and love the music. And on top of that, they know how to play." This unlikely, yet ideal pairing is the result of years of work and passion from Amir Abdullah, the crate-digging, DJ and label-head for 180-Proof Records which in 2011 began reissuing the groundbreaking Strata Records back catalog and unreleased gems from the vaults.

On Strata Records - The Sound of Detroit - Reimagined by Jazzanova, DJ Amir and Jazzanova breathe new life into eleven hand-picked tracks from the Strata catalog for fans of the label's historic recordings and new ears alike. Strata Records rose from the ashes of Detroit's tumultuous 1960s decline. Motor City famously burned in 1967 and then again in 1968, leading to mass exodus of those who could afford to relocate out of the city. "The people of Detroit don't call it the riot," Barbara Cox, the widow of label-founder Kenny Cox says, "they call it the insurrection." From the ashes of the insurrection, Kenny Cox founded Strata as a community organization that initially ran food drives and jazz programs. Not unlike the original Strata collective, Jazzanova is a creative musical community in a constant state of evolution. Founded in 1995 in Berlin, the original five members came together as a collaboration between DJs and producers to create future-focused dance music inspired by their shared love for "funk, jazz, disco, Latin... all kinds of things - but mostly old records," founding member Stefan Leisering explains.

Originally compiled and released in 2018 as Time Capsule's 2nd release and sold out almost immediately. The 2022 repress comes with new liner notes design. It's been the longest out of stock release from TC catalogue so we are thrilled to answer the many requests we received to repress it. Only available on 45rpm loud cut 12" vinyl remastered by Tim Young at Metropolis Studios, UK.

Funky organ groove with a spritual soul swing !

One of the most influential and underground Hammond organists of the 1960's was "Big" John Patton as he was then known. If it was the groove that you wanted Patton was your Man and he made several albums for the legendary Blue Note label, many of which went on to sell for eye watering prices. As his style went out of favor, some of the recordings never saw the light of day until almost 20 years later and at the same time Patton slipped into the background. He resurfaced in the 1980s and went into the studio. Among his albums Soul Connection, originally released in 1983 on Nilva Records has now been re-released

Patton had a strong band with him on this record. Avant Garde trombonist Grachan Moncur III fits in just nicely with some funky lines and solo's. Acid jazz Guitar Hero Melvin Sparks rides in the all important funk grooves but the revelation has to be saxophonist Grant Reed, who you may know from the Jazz Room Release of "Shamek Farrah & Folks" and who was a mainstay of the Mongo Santamaria set up. Jazz Exile Alvin Queen has been part of the sound set ups of Junior Mance, Stanley Turrentine and Charles Tolliver, among others.
The whole album sounds as if it was laid down in a Rudy Van Gelder session in the mid 60's and then languished in a vault somewhere, waiting until the fan base had returned.

Funky organ groove with a spritual soul swing !

One of the most influential and underground Hammond organists of the 1960's was "Big" John Patton as he was then known. If it was the groove that you wanted Patton was your Man and he made several albums for the legendary Blue Note label, many of which went on to sell for eye watering prices. As his style went out of favor, some of the recordings never saw the light of day until almost 20 years later and at the same time Patton slipped into the background. He resurfaced in the 1980s and went into the studio. Among his albums Soul Connection, originally released in 1983 on Nilva Records has now been re-released

Patton had a strong band with him on this record. Avant Garde trombonist Grachan Moncur III fits in just nicely with some funky lines and solo's. Acid jazz Guitar Hero Melvin Sparks rides in the all important funk grooves but the revelation has to be saxophonist Grant Reed, who you may know from the Jazz Room Release of "Shamek Farrah & Folks" and who was a mainstay of the Mongo Santamaria set up. Jazz Exile Alvin Queen has been part of the sound set ups of Junior Mance, Stanley Turrentine and Charles Tolliver, among others.
The whole album sounds as if it was laid down in a Rudy Van Gelder session in the mid 60's and then languished in a vault somewhere, waiting until the fan base had returned.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

The Berlin based vinyl label puts out its first album by an
English duo named Humans & Trees. The 10 track piece feels
like a journey from dusk till dawn. Heavily influenced by Jazz
the album has classic house elements as well as loungy, easy
listening pieces but also some gems for late night dancers. 6
of the 10 tracks will see a limited vinyl issue in the style of the
label’s previous releases. This record is something for every
collection!

Vibe's Maestro Khan Jamal's "Infinity" features a Stellar line up, a drums and percussion-rich sextet that includes Legends Byard Lancaster and Sunny Murray amongst others. The music stands up to anything released on the great Jazz labels like Blue Note, Prestige, Verve or Impulse.

The most well known tune is "The Known Unknown" which has been featured on several compilations back in the 1990's , but the whole album is one of those records that is a complete undiscovered gem.

Self released in 1984 and long out of print, original copies fetch $1000 and upwards, so Jazz Room Records are proud and pleased to bring this Spiritual Soul Jazz highly in-demand Holy Grail out to a wider audience.

Big Crown is proud to present the first 7" offering from Surprise Chef, the newest band signed to the label. Hailing from Melbourne, Australia, these guys caught our ear with their unique sound and approach. They are something of a funky blend of Jazz, Hip Hop, and Soul with a shade of David Axelrod which all comes out their own. These two tunes on this 45 are a taste of what is to come. The A side "Velodrome" starts out with a heavy drum break and an earworm synth line guaranteed to have you humming it long after the song is over. The intro gives way to beautiful and tasteful arrangements showing their music prowess as well as their ear for restraint. The B side "Spring's Theme" is a gorgeous and moody instrumental ballad that starts out with guitar that plays cat & mouse with the percussion until they decide to give the drummer some. Again, they run through arrangements that link together like chapters in a book taking the listener through a myriad of energies that all fit together to make this a quick favorite here at HQ.

Bassist and composer Milo Fitzpatrick (Portico Quartet) launches new collaborative project with saxophonist Jordan Smart (Mammal Hands)

Vega Trails is a new project from double-bassist and composer Milo Fitzpatrick, a founder member of Portico Quartet, who has also performed with the likes of Nick Mulvey and Jono McCleary and features saxophonist Jordan Smart (Mammal Hands, Sunda Arc) in a richly powerful duo bringing together two powerfully charismatic musicians. The project which takes its name from Carl Sagan's science fiction novel 'Contact' (a book about signals of new life detected from the Vega system) andwas born out of a desire to bring the elements of bass and melody to the foreground in their rawest form and Fitzpatrick explains that he deliberatelychose the stripped back approach.

"There is so much in just one musician's sound; the emotional, the intellectual, the vulnerability and power of their character. But often these delicate nuances can be submerged in the quest for a group sound. In Vega Trails I wanted to grant the musicians space to breathe and be heard and for the listener to witness the intimacy and depth of a conversation between two voices, bass and melody. I was also interested in how the limitations would guide both the composition and performance and to push us both to places close to the limits of what we could play, and it is in this place where I believe the character of a musician blossoms and comes forward".

Tremors in the Static was composed during Lockdown as Fitzpatrick immersed himself in music that had space and sparseness such as Swedish fiddle music and Indian Classical music. Jan Johansson's legendary 'Jazz på Svenska' (jazz versions of Swedish folk songs) was another influence, as was a collection of ancient lullabies by Spanish soprano singer Montserrat Figueras. Through exploring the harmonic and textural possibilities on the bass, Fitzpatrick would cycle riffs and motifs whilst singing melodies, and he began to create the music debuted here. However, it was only after listening to Charlie Haden's album of duets, 'Closeness', that the project would come into focus as a duo, and Fitzpatrick immediately knew that the second musician had to be Jordan Smart.

"I saw Jordan play at two Gondwana Records events – in Berlin and Tokyo. Both times I was mesmerised by the intensity and conviction of his playing. His commitment to the cause of transcending himself and the listener made a lasting impression on me. When I began writing this record, I knew I needed a strong player who had equal conviction in their playing as me, but also someone who understood the importance of melody"

It was an inspired idea as Smart brought an openness and positivity which allowed the music to be both experimental and bold. Smart's ability to play tenor and soprano saxophone with equal command, as well as bass clarinet and Ney flute, allowed them to open up the pallet of sound and pull the melodies into varying emotional landscapes.The final piece of the puzzle was the performance space. Fitzpatrick knew that he wanted the two players to react off of a third element. The music was written for an ambient space which interacted with the notes: decaying and disintegrating them into silence. They found the perfect space in a church in Fitzpatrick's local neighbourhood of Stamford Hill.

"The recording space is the canvas on which the sound interacts and flows, it is the frame in which notes can live, breathe and die and is as important as the other elements. A resonant recording space, like a church, allows this stripped back sound to resonate, echo and linger, enough to create images and landscapes in which stories can play out".

This then is Vega Trails, a project that brings together two open-mined and communicative musicians for the first time, to tell beautiful winding stories together and to create something soulful and new.Something bigger than both of them and something that leaves us all richer for hearing it. Enjoy!

Guymon Ensley is a renowned trumpeter from Los Angeles and with Bernard Gibson on lead vocals they have provided an uptempo jazz soul crossover gem. On the B Side we have chosen an instrumental version of the song which has never previously been released.

This beloved 1963 Impulse! LP is a career highlight for both Johnny Hartman and John Coltrane. Hartman was apparently Coltrane's suggestion for the recording date, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner.

"Tony Lugo and Mats Gustafsson never met.
Drums & electronics. Sax & electronics.

A connection was made through a mutual record label and friends.
Music was sent back and forth.

A third player was invited. The machine.
AI tools and algorithms. Interactive improvised music. Extended techniques of humans and machines. Learning processes.
Autopoiesis. Illogicity.

'Can a machine be responsible for its actions?' asks Christian Munthe (Professor of practical philosophy at Göteborg University, Sweden) in his essay Who is the player?

FLESH JAZZZ?
The new jazz? The old jazz?
WTF IS IT?
PLAY IT LOUD."

This album is the rarest of Soul Jazz’s Deutsche Elektronische Musik series!

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

Edson Frederico double featuring tracks from his sought after and VERY pricey 'Edson Frederico E A Transa' LP.

'Tava Mas Nao Tava' is a psychedelic boogie-samba fusion with 4/4 drums and traditional rhythms alternating throughout.

'Bobeira' is a jazzy samba-MPB workout, with bubbling rhodes, layered backing vocals, horns, percussion and whistles.

Previously unreleased on 7'.

Haz Mat is an ambassador of the Detroit vibe in all its diversity, limited to 500 copies.

Volume 6: JAZZ N PALMS returns with another selection of some of the most iconic sunset, poolside sounds to be heard at Pikes Hotel (Ibiza), reworked, retouched and edited for your listening pleasure.

A trusted taste, JAZZ N PALMS warms up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes, fusing jazz sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and the sun of the Mediterranean sea.

Acid Jazz proudly presents: Orchestre Les Volcans Du Benin - Vol. 1!

Originally released in 1980 on the Albarika label, 'Orchestre Les Volcans Du Benin Vol. 1' has long been a holy-grail LP for Afro-Cuban music aficionados.

It now sees its first official reissue through Acid Jazz and is available for the first time with four infections tracks, including 'Oya Ka Jojo': Latin dancefloor dynamite, and a DJ must-have.

Remastered by Frank Merritt at The Carvery, further igniting these killer recordings.

"Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything." - Plato.

Music is an innate sense that taps into our very core. It exists on a prism, and the range is infinite, for anyone to think they've heard everything would be imprudent. Inspiration strikes in a myriad of waves, acting as a cascading waterfall in which each idea is a droplet converging into one stream. Music doesn't know the rigid constraints of exclusivity. Preferences and ideologies can mould an individual; circumstance and fleeting moments require different melodies throughout the part being played by each being in the cosmos.

As each moment calls for an explicit sound, so too does Axis with it's latest release from the heterogeneous Raffaele Attanasio. The multifaceted Italian has delivered an eclectic sound over the years, from devious techno to melodious rhythmic beats. Attanasio delivers a jazz-tinged, angular, progressive and championing album by coalescing influential factors: a musician father, a multifarious palate in music, and prowess as a multi-instrumentalist.

Nuovo Futuro is creating a new future by travelling to the past. Digging into the Zeitgeist of Naples post-second world war, Attanasio extrapolates the sound to present day, combining modern flair with an enriched sound. The influence of American blues and jazz is felt in his hometown, celebrating the lore of Neapolitan musicians through the track 'Parlesia'. The history comes to life through these compositions, influenced by 70s spaghetti films and rich Italian exuberance. Ardour, lust and avidity ensnare the listener in 'Indagini Sospette'. This album is a journey through the streets where he grew up, but also, encapsulates a wandering mind, meandering into the harmonious Mediterranean under the watchful eye of Mount Vesuvius. 'Equilibrio Dinamico' is a snapshot of the working mind of Attanasio, balancing the impromptu of jazz with a gentle caress of his honed craft. Melodies are soft, smooth, progressive and fulminating the constraints of contemporary music. It emanates a renaissance for a sound that Axis is espousing in their releases.

Tania Maria is a singer, composer and piano player from Brazil. It was a period in the early 80s that she became popular on the latin jazz, soul and fusion fans with her albums for the Concord Jazz Picante label and “Come With Me” is perhaps best remembered from that period. It has only once previously in 1983 been existed as a 7” promo only single, original copies exchanging hands now for over £125. Both songs are produced by Carl E. Jefferson who ran Concord Records since 1972. Tania has recorded since 1969, she’s Grammy nominated and has performed all over the world at major jazz festivals. “Come With Me” has been covered and sampled over the years and remains a timeless soul jazz classic.

Double Vinyl set (single slip /color jacket) When a spark ignites between two musicians, the state of flow can be achieved. Usually, a fleeting sensation, but when captured, it is an unstoppable force. The coming together of Jeff Mills and Jean-Phi Dary came from a collaborative project with the late great Tony Allen and created chemistry instantly. Recorded in real-time; these compositions reflect captured spontaneous actions which concede honesty and truth.

XOA returns with a new Jazz focussed sound to launch London based label Outervisions. Sax driven melodies cascade over rich analogue synths, punchy bass lines and crisp house influenced drums from some of London’s finest players.

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Verve und seine Schwesterlabels Impulse, Mercury und Emarcy bieten Vinylfans mit der ACOUSTIC SOUNDS-Serie eine audiophile LP-Serie für gehobene Ansprüche. Hierfür arbeitet Verve mit dem bekannten amerikanischen Vinyl-Label Acoustic Sounds zusammen:

- Fertigung mit 100% ANALOGEN PRODUKTIONSSCHRITTEN
- Mastering vom ERSTE-GENERATION-MASTERBAND
- 180G-PRESSUNG bei Quality Record Pressings
- laminierte TIP-ON-GATEFOLD-SLEEVES & WATTIERTE INNENHÜLLEN

New album by pioneering German beatmaker FloFilz. On Close Distance, the lofiturned-hifi producer blends hip-hop inspired beats with contemporary jazz, alt r&b and a little rap. Featuring Alfa Mist, Blue Lab Beats, Jerome Thomas,

KeepVibesNear, Summers Sons & C.Tappin, Dal & Hunter Rose. Close Distance is his fourth album for Melting Pot Music. Since 2013, the self-taught bedroom producer and classically trained violinist has sold more than 10k LPs and gained 200 million streams.

Close Distance literally means “near in space or time” (or “nah dran”, as we say in German). The 16 songs on Close Distance came to life over the past two years. Many sketches were birthed at FloFilz's old home studio in Aachen. Some songs were made from scratch in London, where Flo did sessions with UK jazz supremos Alfa Mist and Blue Lab Beats at their studios. One was recorded in a kitchen in Streatham, where rap duo Summers Sons and pianist C.Tappin reside.
More sessions were already in planning when lockdown kicked in and travelling was no longer an option. Around the same time, Flo was about to move from Aachen to Berlin which he eventually did in November 2020. Once installed, he started sharing beats and files out of his makeshift studio in Moabit. Beat folders were sent to
London where two of our favourite new alt R&B vocalists – Jerome Thomas and KeepVibesNear – live. Another one went to Dartmoor where the jazz/hip-hop trio Dal added their magic touch while Hunter Rose processed her sultry vocals in Cape Town - 12 flying hours away from Berlin.

The album artwork has been created by Indonesian illustrator Fatchurofi, who caught FloFilz's attention through his work for everybody’s favourite band Khruangbin. Taking influences from Japanese Ukiyo-e art, Fatchurofi is adding a zen-like clarity (and tranquility) that resonates very well with the album.

It is no exaggeration to say that FloFilz has not only created another inspiring album with Close Distance but one that demonstrates how music can close the distance which we all have experienced (and still do) in a beautiful way.