Pop & Rock News

Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.

Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever.

Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy,” Tony is joyously in his element, conducting one of the mightiest bands in the world - he is the head chef, and the band is cooking. The second track, “Hustler,” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing - it is possibly the best example of Tony’s ability to literally
speak through his beloved drumset.

Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

Rena Scott, vocalist extraordinaire of international acclaim, treats us to a soulful, jazzy single pulled from her musical vault!

Following the success of her 1979 debut LP, Rena was hired to replace Randy Crawford as singer for The Crusaders, then at the peak of their fame. Alongside legends Joe Sample, Wilton Felder and Stix Hooper, with sidemen Eddie Watkins on bass and Barry Finnerty on guitar. Rena went on to tour across the US and Europe, performing to crowds of up to fifty thousand at many top R&B/Jazz festivals, including the fabled Montreux.

DRIFTIN’ ON A DREAM was penned in 1982 by Rena herself and the late, great Skip Scarborough, and recorded in 1983 with The Crusaders. Though their saxophonist, Wilton Felder, had included it as an instrumental on his own ‘Gentle Fire’ album that year, Rena’s captivating original vocal version was never released in any form until now, 37 years later.

On the B Side we present KICK IT, another previously unreleased track recorded in 1995; a ‘Between The Sheets’ styled groover.

Beautifully presented in a picture sleeve, this is a ‘must have 45’ for the discerning record collector.

Critically acclaimed jazz reissue on the Disques Vogue label. Red vinyl with white splatters. Specialist marketing.

An anagram is a word or phrase formed by rearranging the letters of a different word or phrase. Don Glori, AKA Gordon Li, takes this concept and applies it to his name as well as his music. Deconstructing the sounds and elements of the music that he loves and recontextualising them into his own signature sound. Carefully considered compositions that facilitate heavy doses of improvisation, Don Glori's music reflects a deep fascination in jazz, house and Brazilian music. Tied together by his inimitable spirit and dedication to making it groove.'Dawn Calling' is Don Glori's first offering to the world, recorded live to tape over two sweltering summer days in February 2020, it captures Don Glori and his band at their best. They wear their influences proudly - touching on elements of jazz, brokenbeat, house and Brazilian music. The record traverses between melancholic, textural landscapes with spiritual jazz overtones through to enchanting group vocals and again metamorphosing into synth laden grooves built entirely around the rhythmcentric marriage of the bass and drums.

From Don Glori: "I was lucky enough to record this EP with some of my closest friends and oldest musical collaborators. I'm particularly proud of this body of work as I think it is the truest reflection of my influences and musical aesthetic that has been captured so far. The decision to record this straight to tape was surprising to those who knew the music but it was a necessary choice in order to capture the spirit and energy that we've developed and honed through the live show. From start to finish, Tim, Lachlan and Selene's contributions are both tasteful and impressive - giving each other enough space, taking risks and knowing exactly when to step out and when to step up. This intangible connection that is familiar to so many musicians only happens when everyone approaches the music with open ears and hearts. I can't thank them enough for giving me their time and talent!"

Called “a killer album of funk and soul” in an internet reminiscence, Magnum’s combination of jazz and funk were advanced for their

time when the album came out originally in 1974. The sound is still fresh almost 30 years later with songwriter and vocalist Michael Greene’s groovy organ licks played against Harold Greene’s smooth bass. The eight-member group collaborates on many songs, bringing a variety of sound that ranges between sweet soul ballads and aggressive funk. Producer Cal Wade generates all the heat and light that bring to mind Tower of Power and made this a lost funky classic for a quarter century. Their small but devoted following has persistently requested the album in its original vinyl form. This remastering by Tom Moulton brings out the music digitally in its full stereo strength.

Oldies fact: Phoenix Records was a West Coast label distributed nationally by Jamie/Guyden. The label’s only two groups were Magnum and Great Expectations.

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Influenced by the modal jazz of John Coltrane, Pharoah Sanders, McCoy Tyner and Rahsaan Roland Kirk, Ambiance was an excellent but little known post-bop group that was active in Los Angeles in the late 1970s and early 1980s. Ambiance reflected the spiritual outlook of its founder and leader Daoud Abubakar Balewa, a saxophonist/flutist who also played African and Latin percussion and was heavily influenced by world music.

The debut album by Gil Scott-Heron, reissued on vinyl for the first time utilising the original masters. 180g vinyl pressing in heavyweight reverse board sleeve.

Small Talk At 125th And Lenox' was the start of a 45-year recording career for Gil Scott-Heron. He became one of the best-loved and most respected artists of the late 20th Century, but never again released an album as simple and hard-hitting as this. Recorded in 1970, Small Talk' featured Gil and three percussionists performing his poetry, the rhythmic backdrop and the style of his delivery making it more than a spoken word record. Today it is seen as a classic that stands head and shoulders above similar albums recorded at the time.

Gil was resolutely a poet, and there is little doubt he could have made his career as an author, as he had originally planned. Throughout the album he writes as a reporter, viewing his community, attempting to make a difference. Better-known today in the band version from his next LP, the original version of 'The Revolution Will Not Be Televised' here is enthralling and compelling in its own right. 'Whitey On The Moon' contrasts the money being spent on the space race against the poverty of the housing projects, while 'Paint It Black' compares the black situation in the northern and southern states. There are also three songs, including the Donny Hathaway-esque 'Who'll Pay Reparations On My Soul', that hint at what was to come.

Gil had gone to Flying Dutchman owner Bob Thiele hoping to record his music. The producer didn't have the funds at the time, so compromised with this album. Its success prompted him to put Gil and his songwriting partner Brian Jackson in the studio to record with some of New York's finest session players. The resulting Pieces Of A Man' album pointed the way forward for Gil's career, but Small Talk At 125th And Lenox' was a spectacular start.

Tape / Cassette


'Scribble' is truly a befitting name for this collection of miniatures created by composer and sound designer Jacob Sachs-Mishalanie. Recorded at his home this past Summer, the short, sweet pieces really are like aural scribbles in a notebook. Slightly chaotic and seemingly unintentional, the 7 tracks exhibit a childlike wonder, a fascination with how various sounds or rhythms work (or don’t work) in tandem.

At the time of writing, Sachs-Mishalanie was particularly interested in exploring loose evolving patterns, utilizing sounds that feel both natural and synthetic - for instance atmospheric field recordings, uncanny MIDI xylophones, and clumsy samples of his own voice. The resulting pieces each explore a singular environment, in which various elements (often quite literally) bounce off each other. There is no obvious logic to how these pieces evolve and behave, but there is something uniquely captivating about these recordings - they are surreal, yet eerily familiar.

Jacob Sachs-Mishalanie is currently a PhD candidate in music composition at the CUNY Graduate Center, where his research focuses on the music of Pierre Schaeffer. He also teaches Music Technology courses at Hunter College and Brooklyn College, creates Max for Live devices, scores and sound designs for theatre, and records and mixes chamber music.

All Sounds by Jacob Sachs-Mishalanie. Recorded at Home in Brooklyn, NY, Summer 2020. Mastered by Angel Marcloid A/V. Artwork and layout by Paulina Ufnal & Janek Ufnal.

Field Recordings: (1) G Train 9.18.2018 / (2) Roasted Carrots at Home 3.8.2020 / (4) Arcade in Kyoto [7.25.2019] / (5) Backyard Bugs at Home [8.12.2020] / (6) Rain at Home [5.1.2020]

Check this serious jazz biz rework of Sun Ra's classic 'Space Is The Place' by the mighty SMBD !!

Already receiving heavy spins by Gilles Peterson and some other influential jazz cats for a while now...dancefloor jazz is back!

The third artist album on Omena is here, 'For The Dreamers' by Saine.

An effortless blend of crisp beat-work and delicate textures, the album feels equally suited for playing out loud or for those hazy summer night headphone marathons.

Album artwork by Rickard Ljungdahl Eklund
Label artwork by Ivo Kiusalaas (bildansvarig)
Mastering by Andreas Saag

Outstanding and legendary Italian Library album out of the vaults of Cometa Edizioni Musicali featuring tones of mental Jazz-Funk and Psychedelic beats. The listener is constantly kept by the incredible music that swings between Psychedelic Funk, Esoteric Jazz and Cinematic/Love themes. Tracks like "Love For Sale", "Privacy", "Metropolis Notte" and "Dopping 2000" are simply timeless, with a stunning sound that perfectly plunges in the universe of great 1970s vibes and golden Italian library/film music of the time. Originally issued on Limited Edition serie for collectors, this gem has been repressed on 180gr. wax again with improved sound quality remastering from the original master tapes.

180gr Vinyl + CD

On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

‘Hörtest-Edition IV - Visions of Jazz’ is a listening experience to be cherished. It offers a specially curated programme which can be compared across different media and in various formats. Enjoy an audiophile adventure in perfect sound quality: the 180gram LP, cut at half speed, has been subject to the most exacting demands during the pressing process, rendering the quality of a turntable audible. Compare the special features of vinyl with the strengths of a conventional audio CD, or alternatively feast your ears on the sound quality attainable in the hi-res world of 24-bit. For this listening experience, ACT has curated a selection from its current releases by renowned artists, all recorded and produced to the highest standards and with an uncompromising focus on sound quality.  Test… compare… but above all, enjoy the music. Under the motto ‘Visions of Jazz’, ‘Hörtest-Edition IV’ presents a multi-faceted kaleidoscope of current jazz.  This ‘Hörtest-Edition’ includes gatefold 180g LP, CD and 24Bit high resolution digital download files. Curated and compiled by Marco Ostrowski.

B.J. Ward is best known for her work as an actress in tv series and films. Besides her work with the band Inner Dialogue she recorded one solo album, named Vocal Ease. It is hailed as some sort of long lost holy grail for crate- diggers and now finally pressed on vinyl again. The work itself is an adult pop album that makes use of her singing voice, and is a masterpiece that unleashes the universal appeal of being jazzy and soft rocking. It is a masterpiece that makes you want to drop the needle over and over again.

The Apples

A Post-Funk Juggernaut Comprised of decks, horns, double bass, and drums, which mixes Middle Eastern influences to create a signature sound.
With the instinctive weaving of a dj set, there music stretches between the composed and the impromptu, keeping a strong point of reference for the beholder's ears, feet and soul.

Rather than rely on their usual full band, live performance, one-room live single recording session, the making of 'Dragonz' was a departure for The Apples.

A multi-studio project spanning three continents, they assembled new instrumental tracks based on loops created in the studio and presented them to a wide-ranging selection of vocal collaborators to complete the picture with, and applied this method to the capturing of longstanding live favourites as well.

The concept of a "vocal album" was implemented on non-vocalist songs as well, treating the omnipresent turntables' sample work not as the central element to the band, but rather its frontman.

Though containing disparate influences, guests and production methods, 'Dragonz' is undeniably Apples, might be their most focused LP to date, and it is certainly their most middle-eastern. Elements of the region's indigenous genres have always been present in the band's work, but never has their influence been
as pronounced.

Reissue of very rare (wild prices on Discogs!) French spiritual/political Avant-garde Jazz, think Brigitte Fontaine meets Alice Coltrane Via the Middle East.

"Cy Timmons, born in 1941, is “The World’s Greatest Unknown” singer-songwriter from Atlanta, Georgia.

His style may be called batida Americana: unusual bossa nova technique marked by the art of guitar percussion and turning his voice into a variety of instruments such as flute, trombone, synthesizer and more. But basically, it is difficult to specify the genre where his music belongs because it has been developed individually and heavily colored by his love of American music such as cool jazz, traditional pop, early R&B and many years of entertaining in various musical venues including Café Erewhon (“Nowhere” spelled backwards) which he ran in Atlanta. Rather than an imitation of bossa nova, Cy applied the bossa concept of expressing samba alone through classical guitar and vocals to expressing good old American popular music alone and so developed a new “traditional” American sound, a sound that was honed in part through an encounter with Judy Davis of Oakland, California, the stars’ vocal coach whose students included Frank Sinatra, Judy Garland, Mary Martin and Barbra Streisand.

He himself produced three albums of his music. On the first: “Cy Timmons” (1972) he was backed by a small orchestra, but the second, “The World’s Greatest Unknown” (1974), and the third “Heaven’s Gate” (1998), were Cy alone and show the true worth of his music that also has something in common with João Gilberto’s “White Album” and “Voz E Violão”."

Mastered and half-speed cut at Abbey Road, pressed at RTI, each release comes in a custom G-FLute cardboard mailer. 001 has a satin fabric heart sticker and 002 gold foil-stamped quotations from Cy. Both have extensive liner notes, including a full length interview.

Born Alice McLeod into a musical Detroit family, Alice Coltrane began playing piano at age seven and later studied with Bud Powell in Paris. Upon returning to the States, she joined vibraphonist Terry Gibbs’s group and eventually shared a bill with the John Coltrane Quartet. In 1965, the two wed in Juárez, Mexico, and played alongside one another until her husband’s last performance in May, 1967.

A Monastic Trio, created in the year following her husband’s passing, is Coltrane’s first recording as a band leader and features six original compositions. While John’s spirit can be felt throughout - from the song titles (“Ohnedaruth” was his adopted Hindu name) to the personnel (Jimmy Garrison, Rashied Ali, and Pharoah Sanders were frequent collaborators) - the album showcases Alice’s immense talent for fusing spiritual free jazz and new age with classical, Eastern, post-bop and gospel.

As the late Amiri Baraka writes, “‘I Want to See You’ is a monastic piano concerto. With echoes of Europe..., it has a solemnity and majesty to it.... Yes, monastic is the word. The piano broods in its earth imagination.”

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

COLOR VINYL LP

Indie Retail Exclusive *Cosmic Moment* Color Vinyl LP Multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he's written more than 400 compositions and is featured on more than 70 recordings (including International Anthem's very first, IARC0001, Alternate Moon Cycles). He's led many ensembles - including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), and a duo with Jeff Parker. He's been on the cover of WIRE Magazine twice and is well-known as one of the prime 21st century progenitors of "The Chicago Sound."

In 1975, Steve Potts left Steve Lacy for a time to compose Musique pour le film d’un ami following the proposition from the film’s director Joaquín Lledó. With guest musicians of quality and from vairied horizons (Ambrose Jackson, Jean-Jacques Avenel, Frank Abel, Elie Ferré, Christian Escoudé…), the saxophonise recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognised way beyond the boundaries of La Défense.

If you have never seen Sujet ou le secrétaire aux 1001 tiroirs, Steve Potts will allow you to listen to it. The film was made by a friend of his, Joaquin Noessi, a pseudonym of Joaquín Lledó, for which the saxophonist composed the music in the mid- seventies. It was recorded in Saint-Germain-des-Prés and Potts was joined by the musicians he played with regularly at the time with Steve Lacy (Jean-Jacques Avenel, Ambrose Jackson, Kenneth Tyler) but not just them...

Because, on Musique pour le film d’un ami, we can also hear funk musicians (pianist Frank Abel and percussionist Donny Donable, both also expatriates, who played in the group Ice), nimble French musicians (Elie Ferré and Christian Escoudé on guitars, Joss Basselli on accordion) and unclassifiable men-of-all-seasons (Keno Speller on percussion and Gus Nemeth on double bass). The production was assured by another Iconoclastic figure: Jef Gilson.

It was an eclectic team, and they made an eclectic album. As is shown by the track titles: Java, Tango, Street Blues, Rock (La Défense), Bhagavad-Gita... Paris, is Babylonia and Steve Potts just has to shake it all up and let the notes pour out: modal, (even cosmic, jazz) free funk, dirty grooves, cool jam sessions, bistro boogie, java wah-wah... On Street Blues, the actor’s voice advises us to: “Listen to the music, listen to the magic voice!” That voice belongs to Steve Potts, and thanks to Souffle Continu it sings out again today, as they rerelease the only record made under his name: Musique pour le film d’un ami, a shattering album of shattered atmospheres.

Musique from the film "Sujet ou Le secrétaire aux 1001 Tiroirs" by Joachim Noessi.

Steve Potts - Alto Saxophone, Soprano Saxophone.
Joss Basselli – Accordion.
Elie Ferré - Acoustic Guitar, Electric Guitar.
Keno Speller – Bongos.
Gus Nemeth, Jean-Jacques Avenel - Double Bass.
Donny Donable, Kenny Tyler – Drums.
Christian Escoudé - Electric Guitar.
Frank Abel – Piano.

Killer percussion, superb jazz, odd global sound, beautiful library music. Yes, an amazing compilation of Italian library music from the SR catalogue, but we couldn't say SR or Sermi on it as it's all now owned by Cometa and they wouldn't allow it. Anyway, about £1000+ worth of music here, and not a duff track within earshot. Legendary composers too - Alessandroni, Torossi, De Masi, Marinuzzi Jnr etc.

In 2014, Vels Trio entered the UK jazz-fusion echelons with breakout EP Yellow Ochre. Conjuring the spirit of old greats and modern innovators like Pat Metheny and Robert Glasper, the trio captured the underground audience whilst inaugurating themselves into the headsier jazz foray. With a feature from the mighty Shabaka Hutchings bolstering the EP to a broader audience, and astonishing live performances, the record led to sold out shows across Europe in 2018.

Since then the band have been busy on-hire for other prominent artists within international soulful jazz scenes, backing for the likes of Charlotte dos Santos and Poppy Ajudha. Their individual journeys involve drummer Dougal Taylor working with Emma-Jean Thackray and Neue Grafik Ensemble on critically acclaimed EPs,
bassist Cameron Dawson signing to Ubiquity with Mamas Gun, and keyboard virtuoso Jack Stephenson Oliver creating dancefloor magic with our very own SAUL and Nigerian composer Etuk Ubong.

Fast forward to 2020, with follow-up single ‘The Wad’ conquering the Spotify jazz playlists, the band have an album in the works for 2021, dropping on your doorstep via Rhythm Section INTL.

The reissue also includes a breakbeat ‘n’ cuica remix of Yellow Ochre Pt. 1 from the ever-reliable beatmaker extraordinaire Footshooter (Dance Regular, YAM Records), ready for living room dancefloors **insert dub siren here** on 180 gram audiophile vinyl.

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

'Dancing In Outer Space' is a certified jazz-funk classic from a legendary band! 12" vinyl, cut loud at 45rpm.

It sits at the pinnacle of the underground UK dance scene that went on to have a global influence. Stateside, the track had big support in clubs such as the mythic 'Paradise Garage' and 'The Loft' by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.

Sanremo Jazz Festival, March '66: Franco D'Andrea's piano trio with Giorgio Azzolini and Franco Tonani are playing. An excellent trio that in this record is joined by Eraldo Volontè and Dino Piana. One of the greatest examples of what we could call "Italian Jazz", if there's ever been such thing.

Volontè is a musician of merit, that deeply "feels" jazz and has a style of his own. His "suonar moderno" (modern play) has never been forced, and he is no longer the musician that must be à la page "at any cost", because sooner or later it would come out in the open.

A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

(180 gram pressing) Kosmo Sound from Ghent presents its long-awaited debut album 'Antenna'. The instrumental sextet is inspired by the typical dub sound where their background in jazz is never far away. They mix heavy bass lines and tight drums with spacy melodies into an organic trip that sets every venue on fire. They have already performed twice as the support act for Dub legend Adrian Sherwood and became winners of Sound Track 2019.

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

Grammy award winner & multi grammy nominated Luisito Quintero grew up with the Latin American and African tradition of percussion. His father is just as much a percussionist as his uncle Carlos Nene Quintero and his cousin Roberto Quintero . He became a member of the Orquesta Simfonica de Venezuela , but soon appeared with ensembles such as Grupo Guaco and El Trabuco Venezolano and toured with Oscar D'León .

He then moved to New York, where he initially worked with Latin jazz musicians such as Willie Colón , Eddie Palmieri , Tito Puente and Celia Cruz . He then turned to the fusion of jazz, funk, salsa and African music and performed with George Benson , Herbie Hancock , Ravi Coltrane and Toshiko Akiyoshi , but also with pop musicians such as Gloria Estefan and Marc Anthony.

His First album “Percussion Maddness” was produced by Louie Vega & LQ and was released on BBE Records. Now 8 years later, re-released on Vega Records with 4 new tracks also produced by Louie Vega will be released on a double pack vinyl in two parts, one a double pack 12” and the second a double pack 7” vinyl. Enjoy the Brazilian, Jazz, African, House, & Afro-cubano sounds of Grand Percussionist Luisito Quintero on this very special vinyl release.