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[jazz] 
Jay U Experience - Enough Is Enough

Soundway fans frst got a taste of Jay-U's infectous beats with the track 'Some More', featured on the Soundway compilaton Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefoor 1974-79'.
Originally released by EMI Nigeria in 1977, this now-rare album was writen by Jay-U and engineered by disco-boogie artst Goddy Oku. Opening with the up-tempo reggae number Reggae Deluxe', the album descends into mind-blowing jazz-funk featuring several killer saxophone solos. The journey ends with a trip into psych-prog rock, with a sound not dissimilar to that
coming out of the early 70s Britsh rock scene.
(*Note: track 5 from the original recording will not be included in this reissue)

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Last In: 7 years ago
Ondatrópica - Baile Bucanero

Ondatrópica

Baile Bucanero

2x12inchSNDWLP092
SOUNDWAY RECORDS
13.03.2017

The long-awaited follow-up to thier 2012 self-titled album is here!

Recorded in both Bogota and the Caribbean island of Old Providence, Ondatrópica are ready to announce their second record 'Baile Bucanero'.
Fuelled by bushy rum, the sessions, often including up to 35 musicians, captured the dialogues between Calypso and Gaita, Accordion and Lapsteel, Clave and Mandolin, even synthesizer and a horse's jaw bone.

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Paradise Cinema - Paradise Cinema

Airplay from Mary Ann Hobbs, Liz Alker and Tom Ravenscroft and beyond

Reviews in Mojo, The Wire, Quietus, Uncut and more

On October 9ththe multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) presents his new project Paradise Cinema. It was recorded in Dakar, Senegal in collaboration with mbalax percussionists Khadim Mbaye (saba drums) and Tons Sambe (tama drums).

The impressionistic and dream-like quality of 'Paradise Cinema' is a stunningly effective realisation of Wyllie's experience, in ahypnagogic state of aural consciousness:

"I had a lot of nights in Dakar, when the music around the city would go on until 6am. I could hear this from my bed at night and it all blended together, in what felt like an early version of the record."

Atmospherically 'Paradise Cinema' is vaporous and enigmatic, but also percussive; existing in a paradoxical sound-space that's amorphous,yet still purposeful, serene, but propulsive and aesthetically sharp.

Khadim Mbaye and Tons Sambe, provide the rhythmic backbone of the record. There are traditional elements of mbalax rhythm, but it is often deconstructed or played at tempos outside of the tradition, so while it hints at a location it occupies a space outside of any specific region.

'Paradise Cinema' is also informed by notions of hauntology – a philosophical concept originating in the work of French philosopher Jacques Derrida– on possible futures that were never realised andhow directions taken in the past can haunt the present.

On the album's title Wyllie comments, "there are a handful of old cinemas in Dakar – these big modernist buildings dotted around the city built around independence. They're old and derelict now, but feel to me like monuments to that period, when the city was flooded with utopian ideas about its potential futures."

As such it sits closely to 4thworld music – situated in an imagined culture and time that never came to pass. And while it contains rhythmic references to Senegal it combines these elements with ambient and minimalist music to produce a sound that sits outside of any tradition.

Setting the tone for the long-player's themes is the optimism-driven, balmy beauty of 'Possible Futures', where rich-toned drums throb and levitate in a stratospheric ether.

Like a time-lapse video of plants in bloom, 'It Will Be Summer Soon' is the sound of anticipation and growth. Rhythmically it flickers and flutters, evoking rainfall, or the blurred wings of a bird in in flight.

Casamance moves through field recordings drifting in and out of focus, beats pitched-down low and unfurling saxophone, whilst the ambient 'Utopia' was made mainly with processed saxophone and suggests a longing for a perfect world.

Galloping percussion juxtaposes with a wistful mood on 'Liberté' – a title that referencesa derelict modernist cinema in Dakar of the same name– a hauntological landmark, made more poignant by the its name being part of the French national motto.

Tying into the cover artwork, Jack explains, "the 'Digital Palm is a telecommunications mast disguised as a palm tree in central Dakar. As a modern piece of technology that on first glance looks natural, it mirrors the combination of modern and acoustic elements."

Perhaps eliciting a time that never came, or maybe still in hope of it yet to come, 'Eternal Spring' concludes the LP's otherworldly beauty with hypnotic drums powering a subtly-building, sparkling and powerful crescendo.

Jack Wyllie is a musician, composer, electronic producer who draws on influences of jazz, ambient, and the trance-inducing repetition of minimalism.

Wyllie performs and records in Portico Quartet, Szun Waves (withLuke Abbott and Laurence Pike)and Xoros. He has also collaborated with Charles Hayward, Adrian Corker and Chris Sharkey and released on Ninja Tune, Babel, Leaf, Real World and Gondwana.

Khadim Mbaye and Toms Sambe play in various mbalax groups in Dakar. Khadim has also toured internationally with Cheikh Lo.

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Last In: 4 years ago
YUSEF LATEEF - Other Sounds

Other Sounds was the first album on which Yusef Lateef looked beyond the confines of jazz and popular music to hear and perhaps 'sing' the music he heard from the East. The album was recorded in 1957 and released two years after on the New Jazz label. The line-up was comprised of Yusef Lateef (tenor saxophone, flute, tambourine, argol), Wilbur Harden (flugelhorn, balloon), Hugh Lawson (piano, Turkish finger cymbals, 7 Up bottle, balloon, bells), Ernie Farrow (bass, rabat) and Oliver Jackson (drums, gong, earthboard). Surely one of the forerunner of the so-called ‘world-music’ revolution

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Crew SDR / Fat B - Don't Give Up (Dj Rocca) / Keep It Coming (Dirtyelements & Drunkdrivers)

It’s been a rollercoaster of a launch for Daje Funk records, a brand new limited 7” imprint which popped out of nowhere in 2019. Their first two releases, which dropped in quick succession, were nothing short of stellar with huge edits coming from Les Inferno, De Gama, Massimo Berardi & The Funk District. All were well received both critically and by the DJ community with support from some of the best selectors out there including Moplen, Fingerman, Jacques Renault and Lego Edit.

You will be pleased to know that DFR003 is just as ridiculously funky pairing up edits from Italian super producer DJ Rocca and another duo of seriously hot Italians Dirtyelements & Drunkdrivers.

DJ Rocca, who surely must be one of the busiest producers on the scene, kicks off proceedings with his supremely tight edit of Crew SDR’s ‘Don't Give Up’. This one is feel-good party funk all the way, designed first and foremost for the dance-floor. Building the groove with some great drum programming, jazzy keys and a hip shaker of a bassline, it hooks you straight away before setting things properly alight when the Saxophone kicks in. Changes galore keep the attention and the dance-floor moving. A wonderful track!

Flipping over Dirtyelements & Drunkdrivers go to town on Fat B’s ‘Keep It coming’. Bringing in some of the funkiest elements from The Fatback Band’s Bus Stop, it’s a ripping 6 minutes of pure dance-floor joy. The bassline and horns tear up the soundsystem as the looped up vocals merge perfectly with some sublime keys to give the track a dubbed out but hugely energetic disco-funk feel.

DJF003 is another release packed with serious quality. Make sure you grab it quick as this one will fly out of the door.

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PAUL DUPONT & HIS ORCHESTRA - TAPESTRY

Farfalla Records allows you to discover again the music of Roger Webb (aka Paul Dupont) with this album that could have been the perfect soundtrack for a crime film of the 1970s, alternating powerful tracks with jazz-funk rhythms and melodic tracks with light/romantic themes. Tapestry was recorded for the London based recording company Chappell Recorded Music and released in 1977 exclusively for professional use.

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PHILIPPE COHEN SOLAL - MIND FOOD

At the turn of the 90s, Philippe Cohen Solal, then musical director for Virgin, becomes one of the first music supervisor in France and works on film scores by Arnaud Desplechin, Nikita Mikhalkov, Lars von Trier, Bertrand Tavernier or Kieslowski, then later composes for Tonie Marshall, Christian Vincent and Didier Le Pêcheur. He meets the very young composer and arranger Christophe Chassol with whom he will sign early 2000 soundtracks, during these sessions they create together the soundtrack of an imaginary film where music would be our spiritual food. The majority of themes are composed by Philippe with his musical partner at the time Christoph H. Mueller before they formed the Gotan Project. Unveiled here for the first time, this album pays tribute to the art of soundtracks, inspired by the world of sophisticated arrangements by Michel Legrand, Henry Mancini, Lalo Schifrin and so many others. Add a touch of folk jazz with the singers Nivo and Gabriela Arnon and the voice of the brilliant Welshman, leader of Scritti Politti, Green Gartside.

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Sue Barker - Sue Barker

Sue Barker

Sue Barker

12inchHC48
HOT CASA
27.01.2020

A Fantastic and rare Soul-Jazz album recorded in Adelaide (Australia) in 1976. Originally pressed and released on Crest records and fully licensed by the Hot Casa team to reissue it on a deluxe 180g vinyl.

Sue Barker is a Jazz singer from the 70s - and one who isn't afraid of picking up a bit of Soul. Most of the album features covers from Duke Ellington to Marvin Gaye, Curtis Mayfield or even James Brown!

Actually this is more than just a vocal album, there's a lot of space for instrumental solo from her top Adelaide musicians team. She gets hip small combo of seven musicians backing that match all the right inflections in her vocals - jazzy when needed, more southern Soul at other points - often with more of a 60s acoustic mode than the sorts of more-electric and groovy instrumentation others singers of the time were using. Arrangements are by Grahame Conlon, the guitarist in the group.

A classic Soul-Jazz album finally available to everybody...

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Ali Shaheed Muhammad / Adrian Younge - INSTRUMENTALS JID009 LP 2x12"
 
19

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers JID002, Marcos Valle JID003, Gary Bartz JID006, and Joao Donato JID007. More than the previous eight Jazz Is Dead releases Instrumentals JID009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

pre-order now01.10.2021

expected to be published on 01.10.2021

CHARLES/SULIEMAN/JENKINS/WALDRON - Coolin’

An obscure and excellent 1957 session produced by master Rudy Van Gelder and originally released on Prestige Records. A tight sextet with a distinctive sound run by vibraphonist Teddy Charles, featuring great pianist Mal Waldron and some fine and often underrated musicians such as Idrees Sulieman – trumpet, John Jenkins – alto saxophone, Addison Farmer – bass and Jerry Segal – drums. The album consists of one standard and five originals, all based on complex melodies and hard swinging rhythms.

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Duval Timothy - Smɔl Smɔl' ft. Cktrl

Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

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Karaba - Pheremon Crumble Wax

Karaba

Pheremon Crumble Wax

12inchKRY017EP
Kryptox
02.12.2020

Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.

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Last In: 4 years ago
DICK KHOZA - CHAPITA

Dick Khoza

CHAPITA

12inchGL1873 / TFAC01
TOOTH FACTORY
16.09.2021

Recorded at Gallo Studios in September 1976, Chapita was Dick Khoza’s lone solo release on the infamous
South African As-Shams imprint. With Dick Khoza wrapped in a tribal blanket on the album’s cover, Chapita
is an assertion of African identity and pride. A true South African Jazz classic that offers long songs with
underlying funk. A masterpiece of the genre. New 2021 transfer from the original reels.

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The Busy Twist, Ze Da Lua, Africa Ritmo, Levis Vercky's, Os Kiezos - The Busy Twist - London Luanda Remix Series

From St Lucia to Jamaica to Ghana to Colombia, London born duo The Busy Twist have travelled the globe to create their dance floor killing productions.

Their debut EP 'Friday Night' combines these cultures, respectfully crossing sound boundaries and joining the dots between Afro House, Kuduro, Latin and Uk Bass.

The London Luanda Remix Series is the result of digging into 1970's popular music in Angola. Acclaimed by BBC radio host Annie Mac, and supported by the likes of Jillionaire, Buraka Som Sistema or Toddla T, some of these remixes are already being played throughout clubs and parties all over the world, but were never officially released.

Courtesy of Analog Africa, all original tracks were taken from the “Angola Soundtrack” compilation series. Includes 2 that have never been aired and one is a vinyl exclusive.

The release of these classic tribal reworks was eventually made possible thanks to the group’s recent trips to Colombia, where they worked alongside Systema Solar, Ghetto Kumbé, Nidia Gongora and Palenque Records, for an impressive variety of original productions, collaborations and remixes.

In alliance with Colombia-based label Galletas Calientes Records, one of these fruitful encounters, the London Luanda Remix Series was finally materialised.

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Last In: 4 years ago
John Coltrane - another side of JOHN COLTRANE

This collection showcases some of Coltrane's best recordings as a side artist and features collaborations with such jazz greats as Miles Davis, Thelonious Monk, Sonny Rollins, Tadd Dameron, and Art Taylor. Primarily focusing on Coltrane's recordings as side man from 1956 and 1957 on the Prestige, Riverside, and Jazzland labels, it also includes a guest appearance (and legendary tenor saxophone solo) with Miles Davis on the track "Someday My Prince Will Come" (from the 1961 Miles Davis Columbia album of the same title). The 2-LP vinyl edition contains two extra tracks that are not available on the CD and digital editions: Nutty (Originally released on the album Thelonious Monk with John Coltrane (Jazzland JLP 46) and Birks' Works (Originally released on the Red Garland Quintet album Soul Junction featuring John Coltrane and Donald Byrd). The liner notes were written by Doug Ramsey, winner of the Jazz Journalists Association’s Lifetime Achievement Award. Ramsey is the author of the award-winning biography Take Five, The Public and Private Lives of Paul Desmond. His other awards include two ASCAP Deems Taylors.

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Last In: 4 years ago
The Pharaohs - Awakening

The Pharaohs

Awakening

12inchLH025LP
Luv N Haight
20.08.2021

Ubiquity Records presents a limited repressing of "Awakeining" by the legendary Pharaohs which is highly sought after and has been out of print for several years. Awakening was originally released in 1971 and re-issued by Luv n’Haight in 1996 and quickly became a must-have for collectors of spiritual, deep, Afro-centric Jazz. "The legend of The Pharaohs starts at Crane Junior College on the West side of Chicago. Under the tutelage of James Mack a student band is formed- The Jazzmen- which in 1962 wins the best band category at Chicago's annual Harvest Moon Festival which translated into the early members finding success at Chess Records as studio musicians. After a while these musicians moved over to the South Side to the fledgling Affro Arts Theater where they joined the Artistic Heritage Ensemble, under the leadership of Phil Cohran and where they eventually merged after Cohran left to teach at Malcolm X Junior College. It was this version of the band: Louis Satterfield, Charles Handy, “Big” Willie Woods (Trombone), Oye Bisi (African drums), Shango Njoko Adefumi (African Drums), Black Herman Waterford (Quinto drum, alto sax), Don Myrick (saxes), Yehudah Ben Israel (guitar, vocals), Alious Watkins (trap drums, tuba), Derf Reklaw Raheem (percussion, flute), Aaron Dodd (Tuba); that in 197I recorded “The Awakening”. By 1972 when “In The Basement” was recorded the unit had expanded to include Derrick Morris (trap drums), Warren Bingham (guitar), Rahm Lee (trumpet) and Sue Conway (Vocal).

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HARUOMI HOSONO, TAKAHIKO ISHIKAWA & MASATAKA MATSUTOYA - The Aegean Sea

1979’s The Aegean Sea is somewhat of a companion piece to the previous year’s Pacific. A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it’s one of Hosono’s cleanest and most focused works to date. Long sought after by collectors this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono’s seemingly infinite catalog. Essential Japanese jazz fusion.

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Various - Labyrinth of Memories

Various

Labyrinth of Memories

2x12inchKASHUALPLASTIK010
Kashual Plastik
25.08.2021
 
31

"A famous dialogue in a famous book on the transience of beauty, written by the possible only true dandy that ever promenaded on earth, goes like this:

“What of art?”
“It is a malady.”
“Love?”
“An illusion.”
“Religion?”
“The fashionable substitute for belief.”
“You are a sceptic.”
“Never! Scepticism is the beginning of faith.”
“What are you?”
“To define is to limit.”
“Give me a clue.”
“Threads snap. You would lose your way in the labyrinth.”

Unfortunately, Kashual Plastik got lost, but the threads have snapped progressively. It got lost in fluxes, that sometimes dry up, freeze, or overflow, sometimes combine or diverge. On the way it became capable of loving without remembering, without phantasm, interpretation, without taking stock. The result is “Labyrinth of Memories”, an epic four-sided compilation, full of romanticism, witchcraft, and necromancy, drifting in an ocean of sentiments, that gently reach the limits of control. The music comes from a wild bunch of sonic outsiders from all around the globe, that go by names like Cucina Povera, Laure Boer, Paula Arambula, Leighton Craig, Teresa Winter, Brannten Schnürre, Hypnotic Sleep, People Skills, Bobby Would, Genghis Cohn, Monokultur or SBooth, to name but a few. They crafted 31 collages, songs, tracks and tunes, that leave the bourgeois dream of materialistic happiness and endless party freedom behind. Their creations rather reinvent the old idea of social meaningful vocal driven music, lifting it up into an experimental plateau of electro acoustic devotion, while handing out sweet illusions, that like to lie while telling the truth. From pure folk to psychedelic fuzz, from tribalistic drone pop, and hypnotic synth murmurs to jazz infused post-rock: with “Labyrinth of Memories” Kashual Plastik enters a world full of echoes by John Bender, Vashti Bunyan, Deux, Nick Drake, Human Flesh, Alan Lomax, Meredith Monk, Television Personalities, Stereolab, Tuxedomoon, The Velvet Underground, organ church music, The Kitchen minimalism, droning campfire folk harmony, and all that Jazzpuu eccentricity. Just to get it all, you need to bring some time, thoughtfulness, forthrightness, relaxation, and an open ritual of sentimentality, that tends to be happier then sad. The rest will be done by a gut-wrenching labyrinth of memories that doesn't remember anything at all.

Mastered by Kai von Glasow."

Housed in a maniacal smorgasbord of mixed materials, card, cloth, screen prints, wallpaper, foil, photographs, and sweetmeats (possibly).

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John Coltrane - Blue Train

John Coltrane

Blue Train

12inchDOL709HG
DOL
31.05.2023

Repress!

Blue Train is a studio album by John Coltrane, released in January 1958 on Blue Note Records.

Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the onlyBlue Note recording by Coltrane as session leader.

includes the complete “Blue Train” album plus the complete album “Lush Life”.

“Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of

jazz music as well.” - Lindsay Planer, AllMusic

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Last In: 4 years ago
Turbulance - Turbulance 2x12"

Turbulance

Turbulance 2x12"

2x12inchCOOPLP2104
CO-OPeration
16.08.2021

Dam's illest son Kid Sublime, teams up with Georgian badman Dj and Producer Mishulino and jazz piano protege Beka Gochiashvili to form the group TURBULANCE.

A mutual love for the Broken Beat sound and Kid Sublime’s Hip-Hop backbone resulted in this project morphing together in Kid’s studio over a period of 5 weekends in between Beka’s tours with Stanley Clarke recording the sessions. The final result being nothing short of an exemplary example of the ongoing renaissance of bruk fusion.

From Hip Hop to Brokenbeat to Bosanova to House to Fusion Jazz...this album captures the energy and late night boozed out studio sessions on tape!

Already hugely supported by Gilles Peterson as well as Bugzintheattic's Afronaut and Mark Force. Definitely an album worth jumping on for all deejays and selectors into dutty future rare grooves and classic beats. Limited edition DJ friendly double pack White vinyl available to pre order from Friday 30th April 2021 from coopr8.bandcamp store.http//turbulance.bandcamp

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Pharoah Sanders - Live At The East

Pharoah Sanders

Live At The East

12inchCH43331
CHUSH
20.08.2021

By 1971 Pharoah Sanders' playing essentially alternated between two moods: ferocious and peaceful. This live record gives one a good example of how the passionate tenor sounded in clubs during the early '70s. Sanders is joined by an impressive group of players: trumpeter Marvin "Hannibal" Peterson, flutist Carlos Garnett, Harold Vick on tenor, pianist Joe Bonner, the basses of Stanley Clarke and Cecil McBee, drummers Norman Connors and Billy Hart, and percussionist Lawrence Killian. On the 20-minute "Healing Song," the lengthy "Memories of J.W. Coltrane," and the two-part "Lumkili," Sanders is heard in top form.

pre-order now20.08.2021

expected to be published on 20.08.2021

Ted Curson - Pop Wine

Ted Curson

Pop Wine

12inchFFL070LP
Souffle Continu
10.09.2021

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.

pre-order now10.09.2021

expected to be published on 10.09.2021

Michel Portal - Alors !!!

Michel Portal

Alors !!!

12inchFFL069LP
Souffle Continu
10.09.2021

Could the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside François Tusques defending a free jazz “made in France”, we find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: More!

Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance! After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers us the chance to listen to again.

“There are periods of insolence”, the musician declared and the year 1970 was one all on its own. Heading up an impetuous international troupe, a quintet consisting of John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners.

From the off, the group sparks an explosion with the sound of “OO Bam Ba Deep” battered by the horns and percussion. Next up is the fabulous free jazz of “Yes, Oh Yes, You Wonderous Sun Kissed Maiden!” and the fantastic disjointed march of “Ça Boom?” which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: “Billie the Kid” and “Undercurrent”, marvelous moments of ambient mystery.

Audacious from beginning to end, including the sleeve – the bird-man and his quintet brain designed by Avoine, –, the album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just one word to use: the French translation of the title, So!!!

pre-order now10.09.2021

expected to be published on 10.09.2021

Albedo Gravitas - Eihwaz

Albedo Gravitas

Eihwaz

12inchAN'24
An'archives
29.10.2021

Albedo Gravitas is an extension of Albedo Fantastica (released on An’archives in 2018), the duo of Keiko Higuchi and Sachiko (Kousokuya, Overhang Party, Vava Kitora).

Both of them are well known names to those who are evolving in the Japanese underground waters since each has been involved in many projects and each has a consisting discography on labels as Musik Atlach, Improvising Beings, Utech. Their respective backgrounds are maybe a little bit different but they share a common interest in different genres from jazz and rock to free improvisation and have collaborated with a cast of various musicians in the likes of Cris X, Fukuoka Rinji, Kawaguchi Masami, Shin-Ichiro Kanda...

For Albedo Gravitas, Shizuo Uchida joins on bass. A peripatetic member of the Japanese underground, having played with groups such as Nord, Onna-Kodomo, Hasegawa-Shizuo, Kito Mizukumi Rouber and Keiji Haino’s Nijiumu, he most recently turned up on An’archives as one half of UH, alongside sax player Takayuki Hashimoto (of KMR and .es).

While this is Albedo Gravitas’s first album, they play together with intelligence and sensitivity, but also with a strong capacity for the unexpected; there are many moments here where you’re wrong- footed, caught askance by the way the music comes together, and comes apart.

Higuchi’s and Sachiko’s instrumental armory is multiple : piano, drums, melodica, electronics. Maybe their most remarkable presence, though, comes through voice – the glottal contortions, heart-rending sighs and moans, and chopped’n’screwed real-time vox improvs that soar across the album’s unpredictable musical terrain. Uchida works here with temporal disruption, there with heavyweight bass punctuation; drums plot out the most welcome rudimentary anti-rhythms, as electronics and melodica shoot arcs of white light through the air, lending an avant-chamber charm to the music here.

Most startling are the dynamics of the two side-long pieces, and the way the group use silence and stilted landscapes to suggest all kinds of routes previously unnavigated. In its capacity for disorientation, it feels indeed like a surprising kind of psychedelia, one far from generic constraint, and much closer to the sidereal suspension that that most overused of terms should rend through your head.

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Horace Tapscott With The Pan-Afrikan People's Arkestra - Flight 17

Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a cornerstone document from the Los Angeles jazz underground, Flight 17 – the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.

"The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people and ask, “Now what can we do to make this community better? What can we do for this community together?”...That’s how the Pan-Afrikan Peoples Arkestra – the Ark – began, with the knowledge that we wanted to preserve the black arts in the community."
Horace Tapscott

Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. Countless musicians passed through its ranks, and in Tapscott it was led by a musical visionary who should be ranked with the very greatest names in the music. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that.

First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. They played for the people, organising fundraisers in parks and coffee houses, hosting teach-ins and workshops for young and old, and mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, supporting each other and their people, and built an ark for the Black arts in the heart of the city. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But through all this, they never released a note of music.

It was the intervention of Tom Albach, a fan of Tapscott and the group, that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laid- back summertime groove of Kamonta Lawrence Polk’s ‘Maui’, or Roberto Miranda’s uptempo Latin jam ‘Horacio’, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band – energised, hip and together. Open up the gates and prepare for departure!

This edition of Flight 17 contains two tracks previously only available on the 1997 CD edition: ‘Coltrane Medley’ and ‘Village Dance’, recorded live at the Immanuel United Church of Christ. It is released as a limited vinyl-only edition on a 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

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Last In: 6 years ago
Jesse Sharps Quintet & P.A.P.A. - Sharps And Flats

Issued on vinyl for the first time, Outernational Sounds proudly presents a monumental spirit music document from the Los Angeles underground - Jesse Sharp's slept-on deep jazz classic Sharps And Flats.

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Last In: 6 years ago
AMARO FREITAS - SANKOFA

AMARO FREITAS

SANKOFA

12inchFARO225LP
FAR OUT RECORDINGS
28.07.2021

From the slums of Recife in Brazil’s North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. His new album Sankofa - a spiritual quest into the forgotten stories, ancient philosophies and inspirational figures of Black Brazil - is his most stunning and sincere work to date.

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Last In: 4 years ago
Mansur - Minotaurus

Mansur

Minotaurus

12inchDEN360LP
Denovali Records
16.08.2021

MANSUR is the project by Jason Kohnen (ex-The Kilimanjaro Darkjazz Ensemble) joined by Dimitry El-Demerdashi (ex-Phurpa) and introducing Martina Horváth on vocals. The sound of MANSUR navigates between the waters of musical fantasy and reality - it morphs and blends traditional instrumentation with modern day electronica.

After the debut record "Temple" and the debut full length "Karma" Minotaurus is Mansur’s first live improv recording. A musical homage to the mythos of the Minotaur. The minotaur as a mirror of self reflection - the fear of confronting one’s inner ugliness. MANSUR takes you on a sonic journey through subterranean labyrinths, evoking spirits from past echoes of Minoa.

Jason Köhnen: Bass / Electronics
Dimitry El Demerdashi: Oud
Martina Horváth: Vocals

pre-order now16.08.2021

expected to be published on 16.08.2021

Sandra De Sa / Equipe Rdio Cidadee - Olhos Coloridos / Bons Tempo

Two brand new names for the Brazil 45's series.
'Olhos Coloridos' is an 80's MPB/boogie jam, thats sits perfectly
alongside the likes of Maia, Valle, Jorge and Olivetti. Backed
here, by some of the members from Banda Black Rio.
Taken from her self-titled 1982 LP on RGE Brazil.
'Bons Tempo Sao Paulo (Good Times)'
Originally released on a rare promo only 7" from 1980, this is a
Brazilian boogie version of Good Times by Chic / Rapper's
Delight, voiced by radio DJs from Sao Paulo especially for the
Christmas holiday season!
The replayed version of 'Good Times' stands up to the Chic
version, and the added cuica heavy percussion breakdown gives it the true Brazilian flavour.

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Solomon Angelo - Da Sacred Symbols Of Sun And Moon

WeMe Records & Cunz Dimension join forces to present the first-ever vinyl release by legendary flipper & Cunz Dimension co-founder Solomon Angelo Inspired by jazz, jungle & joy Solomon tantalizes you w/7 explosive tracks that are sure to make everything & everyone move, groove & stamp their hooves No horseplay, this is the real deal - FLIP IT!!!

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Last In: 7 years ago
The Kilimanjaro Darkjazz Ensemble - Mutations

2016 Reissue of "Mutations" - the second work of The Kilimanjaro Darkjazz Ensemble from 2009. Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble now finally makes all long-time sold out releases available again on all formats (cd | vinyl | digital). The series of reissues starts with their genre-determining second output "Mutations". An act combining profound musical sensibilities, deeply emotional harmonies and an acute ear for genre inter-breeding, The Kilimanjaro Darkjazz Ensemble placed itself and the confluent of dusty, gritty jazz and low-end doom-laden drones, and came up with a sound which is at the same time warm and dark, brooding and misty, cinematic and dynamic.

"The ensemble's music - mournful, mercurial and thoroughly spooked - has the lingering impact of the silent movies (Metropolis, Nosferatu) that served as their initial inspiration." (The Wire)

"The production is that much more spooky, rich, and atmospheric, and the song structure that much more purposeful and realized. It seems they have struck a perfect symmetry in the studio as a group, feeding off one another and performing cohesively. There is not a wasted moment to be heard. Mutations will slide its greasy fingers up your spine and linger there until you like it." (Pop Matters)

Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. His debut album is set to appear in 2017. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra recently started the Psychedelic-Pop duo Charlotte&Magon.

Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble through the years have succeeded in creating a brand new genre of music. The 8 pieces (40 minutes) of "Mutations" are the perfect connecting link between the ensemble's s/t debut album from 2006 and their second full length "Here Be Dragons" (2009). Time to get absorbed again by this unique and fresh sound.

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Sons of Kemet - Black To The Future

Sons of Kemet returns in 2021 with their new album Black To The Future. The follow up to 2018’s Mercury Prize nominated breakout release Your Queen Is A Reptile. This is their 4th record, and 2nd on impulse! Compared with ”Your Queen is a Reptile”, this album has featured vocalists and more of an emphasis on fuller compositions and arrangements. Guest artists include Kojey Radical, Moor Mother, Angel Bat Dawid, Joshua Idehen, D Double E.

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Horace Tapscott - The Call

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album.

In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue.

Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks.

The ceremonial ‘Peyete Song no. III’ is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals.

Horace Tapscott gives Cal Massey’s composition ‘Nakatini Suite’ a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his ‘Lee-Way’ album and John Coltrane on his ‘Believer’ album titled ‘Nakatini Serenade’. Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message.

Vocalist Adele Sebastian opens up the free probing arrangement ‘Quagmire Manor at 5am’ composition with a similar delivery as with her ‘Day Dream’ from the classic ‘Desert Fairy Princess’ album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music.

There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film ‘Horace Tapscott, Musical Griot’, by filmmaker Barbara McCullough, or buy the book ‘Songs Of The Unsung’: The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

pre-order now08.10.2021

expected to be published on 08.10.2021

Horace Tapscott conducting The Pan-Afrikan Peoples Arkestra - Flight 17

Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project.

From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive. We return to Earth with a beautiful solitary flute. The second track, the piano-centric, ‘Breeze’ is different to ‘Flight 17’ in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, it’s a significant change with ‘Horacio’, which is an exuberant Latin infused jingle. It’s unlike anything else on the album. I like to think it was named after the conductor’s Cuban alter-ego! ‘Clarisse’ gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces ‘Maui’. As with the previous track, it moves between a number of contrasting melody lines and rhythms but there’s still space for a tuneful sax solo.

This is a must-have album. I think the first two tracks on their own make this release essential. Kevin Ward/UK Vibe/Boomkat

pre-order now08.10.2021

expected to be published on 08.10.2021

ANTONIO CARLOS JOBIM - TIDE

Limited edition LP - 180g virgin vinyl - deluxe gatefold sleeve
original artwork.
Produced by Creed Taylor, engineered by Rudy van Gelder, arrangements
by Eumir Deodato and featuring among others: Joe Farrell, Hubert Laws,
Ron Carter, Hermeto Pascoal, Airto Moreira, and Joao Palma.
Reissue of the 6th studio album by Brazilian jazz legend Antonio Carlos Jobim.
Released in 1970 on A&M Records, this instrumental Bossa Jazz masterpiece
was produced by Creed Taylor and engineered by Rudy Van Gelder. It features
the arrangements of Eumir Deodato (who also conducted the band) and includes a plethora of sidemen from the U.S. jazz scene, such as Joe Farrell, Hubert Laws and Ron Carter, as well as Brazilian stars like Hermeto Pascoal, Airto
Moreira and Joao Palma.

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