Pop & Rock News

This is Erlon Chaves e Orquestra Saint Moritz - "Procura-se uma Virgem" OST (1971), , supposed to be one of the most sought after Erlon Chaves LP. This OST was recorded to a Brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro Erlon Chaves.

Debut release from award-winning violinist and member of The London Contemporary Orchestra
Galya Bisengalieva, occasional Radiohead, Thom Yorke, Jonny Greenwood, Frank Ocean and Actress
collaborator. On this EP she performs her own work as well as pieces composed by Claire M.
Singer (Touch) and Emilie Levienaise-Farrouch, another award-winning artist who records for
FatCat’s post-classical label 130701.
The A-side’s ’tùs is a majestic piece written by Singer, a soaring, widescreen drone inspired by
Glencoe, an extinct volcano in the Highlands of Scotland. At 10 minutes it’s the longest piece on the
record, and uses a mixture of strings, organ and electronics to beautifully limn an awe-inspiring
sense of space. What starts as a barely-there wheeze of bowed strings builds into an almost
grandiose, panoramic soundscape that will be easily recognisable to anyone who has visited or
even seen the breathtaking, rugged wilds of Northern Scotland.
On the other side Bisengalieva opens with ’TULPAR’. in a marked contrast to the A-side’s billowing,
sustained drones, she here uses her violin rhythmically to animate the winged horse of Kazakh
mythology, connoting the sensation of quick, galloping hooves and massive, beating wings in the
lower ends. More complex and insular, this is the sound of the violin as pitched at an atomic scale;
intimate and alien.
Emelie Levienaise-Farrouch seals the EP with ‘Oparin’, which takes inspiration from Alexander
Ivanovich’s theories about the origins of life in the primordial soup. Her vision takes flight
here, conjuring a hugely dynamic play of stereo strafing strings and breathlessly high register
electronics that connote chaos and tension in the first 2/3rds, then bloom into wilder discord and
romantic sweeps implying danger and beauty in the final section.

Recorded in Oslo’s small and intimate St. Edmund’s Church the 13th of December 2017, this LP features compositions by James Weldon Johnson, Thelonious Monk and Joe McPhee plus two by McPhee and Nilssen-Love.

The album was mixed, edited and mastered by Lasse Marhaug and is vinyl only, no digital. 500 copies made and no re-press. Artwork by Kim Hiorthøy.

Christian Marclay: turntables

Mats Gustafsson: live electronics & slide, tenor and baritone saxes

Recorded and mixed April 2006 by Christoffer Roth and Olof Madsen at Studio Dubois, Stockholm

Mastered by Martin Siewert

Record sleeve by Kim Hiorthøy

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

An upbeat positive and spiritual groove paves the way for our new 'Jazz45' label.

Taken from the forthcoming album 'Earth' from Emanative, with a sublime vocal performance from Ahu.

JAZZ45 - Exciting new sounds from the world of independent & creative jazz artistes!

Original artwork & original music on each and every release, and limited to just 600 copies worldwide!

If, like us, you secretly labour under the assumption that it'll never be as good as that bit of the late 70s when the big bang between jazz, funk and disco gave us shooting stars like Dexter Wansel's 'Life On Mars' and Atmosfear's 'Dancing in outer space', this latest Rocafort 12" is the potential soundtrack to your sunny season.

Kokoro Disco-San are an experienced trio of musicians and producers from Barcelona who have clearly been studying the moods and variations of the nu-disco breeze. Coming at you like a warm scirocco from tropical climes, Isla Fantasia has all the hallmarks of a Joey Negro/MAW production waiting to happen. Peppy 4-to-the-floor beats per minutes that rise and fall in all the right places, catchy synth riffs, echoey Brazil-inspired Backing vocals that just make you want to levitate somewhere between Rio de Janeiro and Ibiza.

The B side, Sonic Feeling, is equally thrilling with its driving bassline somewhere between Brothers Johnson, Azymuth and the Players Association, plus tons of those disco whizz, fizz, bangs that frankly just make you want to smile a lot after a few drinks.

No summer cocktail party should be attended without this crashing in at around midnight to get the foot action started.

Kokoro Disco-San are:

Lalo López

Miguelito Superstar

Thompson

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

Like a blast of wind, lost in some forgotten place, Headflush is filled to the brim with emptiness. Recorded in a single afternoon in Brooklyn, New York Leila Bordreuil's debut album, a collection of unprocessed amplified cello works, explore the limits of tonal perception. The hushed stereophonics of the album could leave the listener wondering if they were perhaps listening to amplified smoke; twisting, turning, and dancing in some strange light. Adrift and strikingly original, Headflush is the sound of the artist hidden in sound, absent in a bleak bliss.

Leila Bordreuil is a Brooklyn-based cellist, composer, and sound-artist from France. She accesses concepts as diverse as jazz, contemporary classical, noise, and experimental traditions but adheres to her own vision of sound. The New York Times has described her work as "steadily scathing music, favoring long and corrosive atonalities". Driven by a fierce interest in pure sound and inherent texture, Bordreuil challenges conventional cello practice through extreme extended techniques and amplification methods. Her composed works frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations.

Terrestrial Funk's second release welcomes Ghanaian legends Pat Thomas & Ebo Taylor. This reissue of their self-titled 1984 album is pure ethereal African groove. As spiritual as it is danceable, the LP has been hidden in obscurity compared to the duos other records, yet houses some of their deepest cuts. Pat's voice and Ebo's guitar have earned them widely successful solo careers that continue to give. Here their instruments meet as the heart and soul of Ghana.

“The year is 1982. Rita Mitsouko has not yet recorded its eponymous debut album. The pile of ashes that once was Disco is still smoking on the field of Comiskey Park. New Wave is a phrase, Post-Punk Rock a thing. In France, young musicians dream of New York City – some with more devotion than others. Lapassenkoff are to early 1980’s downtown New-York what seminal New Wave act Marie Et Les Garçons (who met John Cale on their way to CBGB) are to the city’s musical scene in the late 1970’s: an unexpected cousin from Lyon.

Indeed, going through Shing ‘n’ Tsé! sometimes feel like an impromptu meeting between John Lurie and Tom Tom Club in the basement of some French record store. If we press pause for a minute, a question comes to mind: how on earth such a unique blend of funk, post-punk, jazz fusion & hip hop (!) – more easily associated with, say, The Mudd Club, than with Les pentes de la Croix-Rousse – made its way to the brains of three French musicians?

The answer probably lies in a Swiss chalet, some 40 kilometers away from Zurich. Sent there by the wise people from Mosquito (the label which also gave Ramuntcho Matta and Carte de Séjour the opportunity to record their first album), the band experiences Alpine ennui and mysterious neighbours (a certain Carlos Peron, for instance). That is probably during this stay in Swiss meadows that they opened a Pandora’s box called experimental music, leading them into recording the mind-blowing sample-based – and accidentally proto-everything – M Le Maudit,, that would later grace Belgian airwaves via the famous Liaisons Dangereuses radio show.

But if we’re looking for a bigger picture, M Le Maudit is just an example of how inventive their approach to music was. This compilation is a testimony of a decade-long feverish flirt between the Lyon trio and dance music. From the infectious electric boogie cuts Shing A Ling and Roadie to the somehow euro-house-fuelled Ma Poubelle Angelina, via many unclassifiable yet iconic songs like Bossi Le Bosseman or Fièvres, Frissons, the compilation demonstrates one thing: Lapassenkoff took the road less traveled by and contributed to a different history of French Pop music.”

Pierre-Arthur Michau.

Like the resonant African-American traditions that long precede them, the Black Spirituals are equal parts choreographed and improvisational, containing simultaneously measuredly deliberate and frenetically urgent sonicities.

True to name, the Black Spirituals evoke and produce a Black spirituality in the sonorous tradition of Black flight calling us to follow the North Star and any and all other pathways to freedom. It's the choreographed and synergistic spontaneity and improvisation with clear inspirations drawn from jazz traditions, indigenous African drumming, and anti/de-colonial musico-theological and ritualistic traditions across the Afro diaspora; and it's an expression that constitutes the kind of musical fugitivity most organically and innately produced by Black Americans in our 'post-emancipation' captive state. It's a music for music's sake, and it's a feverish cathartic expression of freedom dreams with true liberatory capacity.

The Black Spirituals, like their musical forebearers, are fugitive planners enacting, per Harney & Moten, 'ruptural and enraptured' soundscapes and offering a space of refuge within which enlightenment can be understood and, thus, enacted.

But this is not music alone. The Black Spirituals are a transdisciplinary and genre transcendent epistemic framework that exists both in itself and in complement with other artists. Black Access Black Axes is a project expressing Black vernacularity as a solo-duetting avant-garde musical technology driven by clear need to contain and articulate both the world in which we live and the dire need to flee and imagine and create another. The album's core are the drone-like meditative frequencies recalling an ever-present sounding alarm: a state of emergency, an alarm signaling the need for and actualisation of Black escape, a Black articulation of futurity only accessible through distortions and conversing-dueling guitar and drum.

Though this is the last joint project with which Zachary James Watkins & Marshall Trammell will bless us, the beauty in their music is their dynamism together as well as apart. So/but before we continue to be blessed with their respective solo workings (made evident in this and all the group's work), this is an invitation to revel in this deeply affective creation born out of their wellspring of love for Black people and our deservingness of freedom. From my head to my DNA, I felt this. I hope you will, too.

Another first-time-on-vinyl release from Koko, Ballads For Bass Clarinet (previously a Japan-only CD) comprises a couple of waltzes, a blues, a Monk-ish suite-like piece, a free-ish drums and clarinet interlude, and finally an elegy to civil rights leader Fannie Lou Hamer.

David Murray leads on bass clarinet, managing to go both deep and soaringly high; it sometimes sounds like two different instruments are being played. Backed by John Hicks (piano), Ray Drummond (bass) and Idris Muhammad (drums), Murray’s quartet is tight and the recording superb, with a warm and intimate sound.

Highly recommended.

Oglon Day is the debut release from the quartet of Oren Ambarchi, Mark Fell, Will Guthrie and Sam Shalabi. Though Ambarchi had previously worked on separate occasions with Fell and Guthrie, the two days the four musicians spent together in a London studio producing this LP was their first meeting as a quartet, preceding an acclaimed performance at the 2016 Masāfāt Festival. Coming from diverse backgrounds and concerns, the four musicians have created an effortless blend of their seemingly disparate approaches, carving out a musical space that gives equal weight to Ambarchi’s physically affecting guitar explorations, Fell’s stuttering electronic pulse, Guthrie’s virtuosic drumming and Shalabi’s psychedelic oud improvisations. Oglon Day is an inspired meeting of the acoustic and the electronic, the composed and the improvised, the human and the machine, the austere and the joyous. Quite unlike anything else in the four musicians’ respective back catalogues, it also offers a surprisingly accessible point of entry for any listener so lucky as to be unfamiliar with their work

More Edit Action Aimed Straight At Late Nite Disco Dancefloors!

Disco Bits Return To The 12" Format With Another Collection Of Varied Cut N Paste Edits.

Side A
1. Funk Freak
Disco Bits Are Suckers For A Bit Of Hip House And Here They Take A Slept On 80's Rap Classic And Polish It Up For Modern Dancefloors.
The Addition Of Beefed Up Drums And Percussion Turn This Into A Guaranteed Floor Filler. We've Already Lost Count Of How Many People Have Asked Us What This Is When We Tested It Out On The Floor.

2. What You Want
Here The Crew Take A Nu-yorican Disco Classic And Put The Break Where It Was Always Meant To Be, Right At The Centre Of The Track. Drums, Drums, Drums To Make The Dancefloor Rock, Rock, Rock!

Side B
1. Dance On
An Edit Of A Timeless Afro-tinged Disco Underground Classic. An Unstoppable Percussion-heavy Groove Teases A Build-up To A Heady Mix Of Horn Stabs And Vocal Chants.

2. A Thousand Megatons
A Rework Of A 1980's Slept On Jazz Fusion Album Track Puts The Groove Front And Centre, Building Around An Up-front Bass And Brass Workout That Underpins An Irresistible Vocal Hook. Destined To Detonate Any Party-time Dance Floor.

“In October 2018 we took several recordings in and around Eddie Prévost’s home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie’s own take on Locke that he offered in our correspondences:

“Scholars of Locke’s philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such ‘mixing’ is a persuasive description of a creative act. But the theory is more worthy of a social dimension.” As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its ‘metamusical’ relationship with the untempered sounds of the external environment.

Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike ‘protomusical’ behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development.

Ross Lambert provided a few words along side his cover drawing entitled ‘The Metamusician’: “The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.””

- Daniel Kordik & Edward Lucas, March 2019

Omena travels south of the Mediterranean Sea, antique maps and compass in hand, for the release of Parviz's Zerzura EP.

An expedition to the eponymous mythical oasis, west of the Nile river, stirring "the passion of men", as St-Exupery would put it.
Four songs of romance and reverie, taking you through a dizzying jazz journey, full of twists and turns; starting with emboldened trumpets, only to end on a handful of quaint piano notes.
As dusk settles upon the dunes, the mirage has now vanished, and the forlorn hope turns into a soul-searching journey.

The  Hammond organist’s classic 1968 album. His second record for Blue Note. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 23rd July 1968. Produced by Blue Note co-founder Francis Wolff. Featuring an all-star unit including Lee Morgan (trumpet), David ‘Fathead’ Newman (tenor sax) and Melvin Sparks (guitar). Kicks off with the hard-driving Hugh Masekela composition ‘Song Of Ice Bag’, and continues with a take on ‘Three Blind Mice’, a brilliant version of the title track, made famous by Aretha Franklin, and two more Latin-tinged Smith originals (‘ The Call Of The Wild’, ‘Slouchin’’). Includes liner notes written by Rhett Evers.

Soul Jazz Records are releasing flautist Lloyd McNeill’s album ‘Treasures’ (1976). Originally released on the artists’ own private
press Baobab label in New York, the album is a serious collectors’ piece, a heavyweight and fascinating fusion of deep and
spiritual jazz sensibilities blended with Brazilian and Latin rhythms and melodies.
Lloyd McNeill is a cultural polymath – a multi-disciplinarian flautist, painter, academic, poet, and photographer – who as a
musician has worked with everyone from Mulatu to Nina Simone, Eric Dolphy and Nana Vasconceles (and as a painter was
befriended by Picasso!).
McNeill grew up during the era of the Civil Rights Movement in the 1960s and his life and work is a reflection of those ideals. All
of his music was only ever released on his own private-press record label, echoing the Civil Rights and African-American themes
of the era – black economic empowerment and self-sufficiency – and there is a beautiful spirituality in all his music.
In the late 1960s McNeill became teacher of both jazz and painting at the New Thing Art and Architecture Center in Washington
and in 1969 was the first African-American professor hired to teach African-American Music History, at Rutgers University.
‘The course was a scholarly attempt to trace the roots of the music of African-American cultures in the diaspora (including North
and South America) of the African Peoples taken from West Africa and brought to the so-called New Worlds as slaves.’ LLOYD
MCNEILL
As part of these academic studies McNeill travelled extensively throughout Brazil between 1971-76, studying Afro-Brazilian music.
On his first trip to Brazil he met the pianist Dom Salvador, leader of the fusion group Aboliçao and over the next few years
worked with many Brazilian musicians including the guitarist Paulinho da Viola, saxophonist Paolo Moura, and singer Martinho
da Villa.
On his return to New York in 1973 he formed a regular and fluid live group that included Brazilian players Dom Salvador, Nana
Vasconceles, Portinho as well as many heavyweight jazz musicians such as Ron Carter, Cecil McBee, Marcus Miller, Charlie Rouse,
Bob Cranshaw and many more.
‘Treasures’ was the culmination of this intense period for McNeill fusing Brazilian, jazz and Latin sensibilities together. The album
features McNeill on flute, Cecil McBee on bass, Dom Salvador on piano and three percussionists – the Brazilian multiinstrumentalist Portinho, Latin percussionist Ray Armando and jazz drummer Brian Brake.
This is the 4th Lloyd McNeill album that Soul Jazz Records have released and follows on from the earlier albums ‘Asha’ (1969),
‘Tanner Suite’ (1969) and ‘Washington Suite’ (1970) all of which are being re-pressed to coincide with this new release.
‘Treasures’ is released as a limited-edition 1000-copies worldwide LP (+ download code), and limited-edition 1000-copies
worldwide CD edition and also as a digital album on Soul Jazz Records.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.

“While he was still just a young adolescent who had perfected his drum technique under the benevolent wing of Kenny Clarke, the Club Saint-Germain liked to present Jacques Thollot as a prodigy capable of holding his own with the famous jazz musicians who came through Paris. It was there that Eric Dolphy immediately noticed him, and from René Thomas to Walt Dickerson, everyone wanted to work with him.

However, it was during the 1960s, first with Jef Gilson then François Tusques, Barney Wilen, Joachim Kühn and Steve Lacy, that the decisive encounters occurred. Without forgetting that he joined, in 1968, one of Don Cherry’s groups, went on tour with them and came back transformed. That being said, to present Jacques Thollot as an in-demand virtuoso who could adapt to any circumstances would be to ignore both his demanding compositions and his complete freedom from stylistic boundaries.

To prove the point, and although he had already featured on some cult albums (Our Meanings And Our Feelings by Michel Portal, Monkey-PockieBoo by Sonny Sharrock), the first album under his own name, recorded in 1971 for producer Gérard Terronès, who gave him free rein, would turn out to be an unexpected, unclassifiable and astounding work. Entitled "Quand le son devient aigu, jeter la girafe à la mer", (when the sound gets high-pitched, throw the giraffe into the sea) it is an extraordinary sonic collage, created from discrete re-recordings and using just a handful of instruments including drums and piano. The result is a miracle, though the economy of means the production technique succeeds in putting the spotlight on the oddly elaborate compositions under an enigmatic but well-chosen title, borrowed from poet Henri Michaux. It puts into words the mysteries of a fragile melancholic universe which can be compared to another album by an iconoclastic drummer: The End Of An Ear by Robert Wyatt. The difference being the highly personal elements which shine through the French musician’s album, clearly drawn from listening intently to classics from Debussy, Ravel and Barraqué (whom he knew), a seam which he would continue to mine on his equally excellent following albums Watch Devil Go and Cinq Hops.

Yes, it is true that Jacques Thollot recorded rarely under his own name (five albums during his lifetime), but what marvellous albums they are!”

Repress coming soon!

One of the finest albums I've heard in a while. Tight, Fela-esque horns, big clubby drums with chunky guitars holding it all together, this record is constantly engaging and is at times reminiscent of Quantic at his best. Can't say fairer than that!" - Adam Gibbons/Lack Of Afro



Were David Hanke to pass on from this mortal coil tomorrow, Nevertheless might prove his perfect epitaph. It’s a refreshingly honest and somewhat autobiographical long-player that harks back to his early twenty first century musical influences but actually has its route much earlier in this self-styled Renegade Of Jazz’s life. The album’s appellation refers back to Hanke’s first live concert experience when in 1984, at the age of six, he went to see a Blues-rock band called Nevertheless whose guitarist was none other than his own father. With music clearly already running through Hanke’s D.N.A. this was the moment that, perhaps subconsciously, triggered his life long love affair with soulful sonic creativity. Nevertheless sparks into action with the irresistibly uplifting Lemon Squeezers, a suitably life affirming opener complete with exhilarating guitars and as the man tells us, “(the) basic characteristic, the beat!” and it’s a rock solid beat at that. With some Renegades Of Jazz trademark horns added for extra spice, and of course everything programmed by Mr Hanke himself, this is the perfect introduction to this man’s scintillating style. Nautical nugget, Big Fish, continues the brass obsession.

It has a more sonorous, almost big band feel, even though we all know this is being delivered solely by one pair of hands and that singular, special musical brain. Hanke adds some nifty piano work for extra cheekiness, which is a theme that’s continued on Another Day (Going In Too Deep) where Hammond style keys and perfectly chosen vocal samples do battle with more foot friendly beats, before we go in deep with Afro flavoured licks and horn riffs. The title track starts life as something of a moment of calm with a more introspective feel, but not for long as we make way for more trademark beats and vocal loops, and more of those irresistible horns! It’s the prelude for a watershed moment on the album as Hanke then introduces his first guest in the shape of Bristolian rapper Donnie Numeric (one half of Delegates of Rhyme) on the scorching Hot Wired. It’s the perfect illustration of our producer’s love for the Hip-Hop art form, and Donnie’s smooth lyrical flow combines with those Renegades Of Jazz brass and guitar riffs to make more demands on you to move your feet.

This third release on City Volts Records from the international producer and DJ collective sees West Loop Chicago channelling their inner Herbie Hancock and The Headhunters for this heavily jazz-fusion influenced record. The A-Side features 'The Serpent', a frantic analogue synth dance floor gem with its Mini Moog and Oberheim OB-6 parts leading the charge, a track very much inspired by Herbie's 'Chameleon' and Barry Miles' 'Magic Theater' from 1975, a Gilles Peterson/Dingwalls standard. The B-side includes 'Divinity', a more soulful affair with its delicious Fender Rhodes chords and atmospheric piano solos, which furthermore highlights the high level of musicianship contained within the 12". Both tracks also feature their respective bonus beats versions with 'Serpentine Bonus Beats' and 'Divine Bonus Beats' providing the rhythm tracks for both.

*Third vinyl release from the Berlin based Jazz-O-Tech Records.

Jazz-O-Tech introduces Black Gardenia Vol.1 composed by Berlin-based duo BEAT MOVEMENT.
The duo presents an unusual, psychedelic and moving techno jazz EP in collaboration with techno pioneer Sunil Sharpe, Italian saxophonist and composer Gianni Mimmo and the jazz quartet Gamapawa.
Black Gardenia is a mesmerizing aesthetic sound experience, taking the listener on abstract journeys and into cinematic sceneries. The title track "Silent Rain" opens the A-side with a soft and emotional fusion of drones and saxophone, followed by the sovereign and psychedelic slow groove of the track "Aphex Twin shot my neck". The B-side is a dancefloor killer combination between Sunil Sharpe's intelligent techno remix of “Silent Rain” and Gamapawa's featuring track "Untitled Reconstruction", where drums and saxophone reach the speed of 150 bpm.
Black Gardenia will be distributed worldwide in 300 limited edition copies.

Celebrating the photography of Robert Doisneau, 25 years after his death. Discover the new Esprit Robert Doisneau Collection, associating songs with his famous images of Paris.

Famous all over the world, the photographer’s work accurately represents the soul of Paris. This collection of ten LPs are all pressed on 180g coloured vinyl.

Celebrating the photography of Robert Doisneau, 25 years after his death. Discover the new Esprit Robert Doisneau Collection, associating songs with his famous images of Paris.

Famous all over the world, the photographer’s work accurately represents the soul of Paris. This collection of ten LPs are all pressed on 180g coloured vinyl.

First Word Records is thrilled to announce the next LP release of 2019,14KT presents IAMABEENIE: For My Sanity.


Following up 'The Power of Same', the first single off 14KT's new project, featuring Muhsinah, and remixed by Kaidi Tatham, 'For My Sanity' is a "freedom project", an album rooted in free creation, without being tied down by bars, patterns, scenes, and sequences. The intention behind this long-player is clearly stated all throughout the 12 tracks: releasing the angst of the current climate we are facing through collective artistic means.

"I made all the music really late at night after my day-to-day work, as an escape from "what I normally do". Paired with the everyday struggles of being an artist, it was very stressful hearing about so many deaths––especially due to law enforcement. Making "For My Sanity" was how I was trying to find peace of mind every night so I could go to sleep." says 14KT.

The themes of the album sway gracefully from personal philosophies and creeds, to burning social matters and celebration of the importance of family and genuine, fruitful friendships. If we were to classify this in a genre, we would say For My Sanity is a jazz record, at its core, but elements of hip hop, soul, r'n'b and latin music are easily recognisable and at home on the album.

"I challenged myself to create a jazz album, primarily using Native Instruments Maschine. 85% of the album was created on there. The rest was my amazing friends and myself playing instruments." KT continues.


'For My Sanity' features an array of fellow visionaries - Jimetta Rose, Masego, Mark de Clive-Lowe, Muhsinah, James Poyser, Stro Elliot, Rasheeda Ali, Farnell Newton, Kris Johnson, Magestik Legend –– who help deliver the message and further relay the essence of what the album stands for.

The journey of this release is a story in itself, as the primary thought wasn't for it to be released, especially with a label. But when this landed in DJ Gilla's inbox, and then shared with the First Word team, it was clear that the music was right up First Word's street.

IAMABEENIE is a name that denotes a series of jazz-Influenced albums 14KT is currently working on.

'For My Sanity' is out on vinyl & digital on April 26th.

Zoe’s Shanghai does not want you to know what’s coming.
With their debut LP A Mirage (Meant To Last Forever) and its kaleidoscopic textures, rich
melodies, fizzing percussions and soulful vocals, they effortlessly lead your imagination and
sense of rhythm, to places you did not expect, feeling things you did not know were there.
The music making process for Zoe’s Shanghai is a series of mysterious intuitive steps from
one thrilling discovery to the next. These sounds and ideas flow between the members of
the group, iterating into a tightly formed composition, forming original bases of sound and
then rolling off the edge into unchartered territory with Zoé’s voice reflecting on themes like
the subjectivity of reality, the creation of memories and internal contradictions.
Your ears and body will listen as they are lead through an exploration of acapella silk-road
scale vocals caught by light swinging chords, tender and reflective bassline foundations
supporting Zoé’s wandering reflections, rolling out into the sunlight of nurturing neo-soul
chord sections, rounded and warm textures punctuated by broken beat, walls of vocal
harmonies swelling over shimmering percussion as it rolls away.
A Mirage (Meant To Last Forever) is the record of Zoe’s Shanghai’s thrilling, joyful,
mysterious, groovy and shared process of music making. The loving extension of what Zoé
has been discovering in music since she can remember.

Third studio album by Vienna born London based saxophonist Guido Spannocchi after his sold out vinyl only debut "Ahead Only" and his second album "Terms & Conditions"

This new double vinyl or single CD features interntionally acclaimed Tony Kofi, former sideman of Abdullah Ibrahim and Ornette Coleman, on Baritone saxophone as well as New York based Jure Pukl on tenor saxophone. The various configurations also contain Gina Schwarz on bass who recently was mentioned in the Billboard Magazine and is a long time sidewoman of George Garzone as well as Saleem Raman on drums who is known for his work with Robert Mitchell amongst many others.

Recorded Kristian Craig Robinson, sound engineer of Shabaka Hutchins "Comet is Coming" at London's hotspot Total Refreshment Centre.

All titles are original music and draw from eastern European Lullabies, club grooves and displacements onto intricate harmonic structures and daring interplay. The delicate compositions come to live through the versatile approach of the ensemble led by Guido Spannocchi

[a] 1. Moral for Cash (feat. Tony Kofi, JJ Stillwell & Filippo Galli) [clip]
[b] 2. Kensington Hanami (feat. Jure Pukl, Gina Schwarz & Saleem Raman) [clip]
[c] 3. Majorelle Blue (feat. Jure Pukl, Gina Schwarz & Saleem Raman) [clip]
[d] 4. Spilled Milk (feat. Tony Kofi, JJ Stillwell & Filippo Galli) [clip]
[e] 5. Ode to Ornette (feat. Gina Schwarz & Saleem Raman) [clip]
[f] 6. Cork Screw Blues (feat. Jure Pukl, Gina Schwarz & Saleem Raman) [clip]
[g] 7. Urban Jig (feat. Tony Kofi, JJ Stillwell & Filippo Galli) [clip]
[h] 8. Aria (feat. Tony Kofi, JJ Stillwell & Filippo Galli) [clip]
[i] 9. Fragmentation Alteration (feat. Jure Pukl, Gina Schwarz & Saleem Raman) [clip]
[j] 10. Sunday Solitude (feat. Gina Schwarz) [clip]
[k] 11. Au clair de l'eclipse (feat. Jure Pukl, Gina Schwarz & Saleem Raman) [clip]
[l] 12. Rush Hour War Chant (feat. Saleem Raman) [clip]

Godtet is the brainchild of Australian Instrumentalist and producer Godriguez. Praised for his production on 'The Great Mixtape' for Sampa the Great. Godtet see's Godriguez stepping back into the live format of production with his band plus Simon Mavin (Hiatus Kaiyote) & Zeke Ruckman (30/70).

After releasing the self-titled debut in late 2017 Godtet have quickly become a staple within the emerging Australian Jazz & Instrumental scene with adulation streaming in from all parts of the globe. House Shoes called it his" album of the year" whilst Gilles Peterson made an exception in his Melbourne focused WorldWide FM show playing the Sydney outfits music. Whilst in Melbourne playing shows launching the first album, Godtet decided to record the next album "II", the bulk of which was laid down over one day and was rooted deeply in improvisation, just like the first record.

"It's a masterful piece of production" - Supreme Standards

"They are crazy, insane musicianship" - Jordan Rakei

Airplay on BBC6 and World Wide FM.

Led by the light of imagination, Son Swagga creates a musical realm of magic and wonder. The nine-headed kinship tells tales of warring tribes, forces of nature and cosmic sorcery.

Clanleader Felix Back draws upon his repertoire of funk-fusion, spiritual jazz and videogame music to create a sound that has never been heard before. Backed up by the tightest, most energetic rhythm section Amsterdam has to offer and spearheaded by a powerful horn section Son Swagga fanfares the coming of a new age in rhythm music.

Following their 2017 debut ‘Fires of Quidel’ Son Swagga are releasing their second full length album ‘Dark Magic’ on Super-Sonic Jazz Records on May 7th. Performance highlights include Bimhuis, Paradiso, Melkweg and Womex World Music Festival.

Son Swagga ‘Dark Magic’ is already the fifth physical release on the rising Amsterdam based Super-Sonic Jazz Records. Runned by Dutch DJ KC The Funkaholic (a.k.a. Kees Heus) and brothers Tenzers (a.k.a. Vincent & Siemen Tenzer), the Super-Sonic Jazz recordlabel, their six day festival, monthly concerts and exquisite clubnights becomes a serious movement within the Dutch musical landscape.

Kees Heus was also responsible for the running the Dutch imprint Kindred Spirits, that released records by international heavyweights, while championing local pioneers simultaneously.
Open your mind and nurture your imagination, because Son Swagga’s Dark Magic will spin mystic fiction into vivid reality.

third reissue of fumio itabashi on mule.

“rise and shine live at the aketa’s” is his 2nd release on 1977 which is recorded at legendary jazz club in tokyo.

but this album was actually recorded before his first release “toh”, so this album is his first album in fact.

“jumping board” on a side is japanese hard bop classic and itabashi’s cover version of “my funny valentine” is very sweet and elegant.

main track(for us)” rise and shine” is one of his best work. it reminds us pharaoh sanders if he plays piano…

limited initial press. don’t sleep!

New compilation Untitled collects seven collaborations inspired by the life and work of Jean-Michel Basquiat, pairing emerging and established musicians to create a genre-defying compilation of new music.

* Shabaka Hutchings, Kojey Radical, Wu-Lu, Nubya Garcia, Lex Amor, Ego Ella May, LayFullstop, Moroka, AJ Kwame, Lord Tusk, Roxanne Tataei, Kz, Mala, Joe Armon-Jones, Confucius MC, Kwake Bass, Maxwell Owin & Coby Sey.
* 12″ gatefold sleeve printed with UV Spot gloss
* 1 x 180g heavyweight black vinyl
* Artwork by Fabrice Bourgelle & Anja Ngozi
* Mastered by Finyl Tweek, London.
* Ltd Ed. of 1500
* Vinyl and digital release date: 31/05/2019

A1. Wu-Lu, Lex Amor, Ego Ella May – ‘Legend’
A2. LayFullstop, Moroka, AJ Kwame – ‘Broadcast By Chocolate’
A3. Lord Tusk ft. Roxanne Tataei – ‘Know Ways’
B1. Kojey Radical, Shabaka Hutchings – ‘No Gangster’ (Produced by Kz)
B2. Mala, Joe Armon-Jones, Nubya Garcia – ‘Scratch & Erase’
B3. =CoN+KwAkE= – ‘Same Ol Samo’
B4. Maxwell Owin & Coby Sey – ‘Response to Michel’

Released by Lonely Table, Anja Ngozi and The Vinyl Factory, with support from the Arts Council England, the album spans genres and eras, touching on jazz, experimental electronic, post-punk, dub and ambient influences, painting a diverse picture of the UK’s expanding underground sound.

Drawing on Barbican’s major Basquiat retrospective in 2017, the project also explores themes around identity, representation and social inequality.

As such Untitled also encompasses a youth project with Ruff Sqwad Foundation, in which seven BME young people aged 12-18 were given the opportunity to visit the Tate Modern and create music in response to what they saw.

As LayFullstop says: “We’re celebrating a legend who fought with his brushes and spoke with his work. The need for his work is still as current as ever. The issues we’re attacking are still as current as ever. So it’s only logical that Basquiat is and will continue to be as current as ever.”

Helen Merrill has done something very few others have done in the world of


jazz for, just with one record, she has come to be considered one of jazz's


greats. Usually a budding new star has to do quite a bit of waiting before he or


she can be acclaimed. It all depends on the public's opinion of the musician's


merits. Sarah Vaughan"amongst the singers "and Julian "Cannonball"


Adderley"among the instrumentalists"have had to take their place in the


queue awaiting the people's favourable reaction. In Helen Merrill's case
Notte e Giorno

Night and Day

Accade Tutto A Me

Everything Happens To Me

Autunno a New York

Autumn in New York

Perchè Non Fai Di Tutto

Why Don't You Do Right

Tu Non Sai Cosa Sia L'Amore

You Don't Know What Love Is

Queste Piccole Sciocche Cose

These Foolish Things

Aprile A Parigi

April in Paris

Ti Ho Nella Pelle

I've Got You Under My Skin

Solitudine

Solitude

Salice Piangi Per Me

Willow Weep For Me

Quando il tuo Amore

When Your Lover Has Gone

Helen Merrill has done something very few others have done in the world of

jazz for, just with one record, she has come to be considered one of jazz's

greats. Usually a budding new star has to do quite a bit of waiting before he or

she can be acclaimed. It all depends on the public's opinion of the musician's

merits. Sarah Vaughan—amongst the singers —and Julian "Cannonball"

Adderley—among the instrumentalists—have had to take their place in the

queue awaiting the people's favourable reaction. In Helen Merrill's case

however, it only needed her 1955 recording with Clifford Brown and Oscar

Pettiford—with arrangements by Quincy Jones—for the critics to state that at

long last jazz had a fair skinned singer. And yet we cannot exclude June

Christy, Anita O'Day or Chris Connor. It was just that Helen seemed to have

that certain "je ne sais quoi" which, before her splendid entry into the realm of

jazz, seemed to be exclusive right and property of the coloured singers—with

Billie Holliday leading the field.

Helen was born in New York thirty years ago. Her "education" in jazz was

handled by musicians like Bud Powell, Miles Davis and J. J. Johnson, and then

she carried on to her first important musical engagement—Earl Hines and his

orchestra. Her style is decisively "instrumental" and her interpretations never

set up that old problem of styling which often crops up when we think of the

recordings of other modern singers, that is whether it's really jazz or whether

we are listening only ballads to pazz style. Helen uses her voice with

intelligente and is deliberately "discret" i.e. she tries to make her voice seem

like an added instrument to the orchestra. Her recordings of "Willow Weep for

Me" and "Everything Happens to Me" are especially good examples of this

ability of hers.

In 1960 Helen Merrill went on a tour round Europe and was the star at the

Comblain La Tour Jazz Festival. Later, she came to Italy in order to record a

series of concerts for a television programme called "Moderato Swing" with

Piero Umiliani and his orchestra. She has also recorded 4 songs in Italian with

Armando Trovajoli and his orchestra (a 45 r.p.m. extended play—RCA EPA 30-

387). She has even been to sing in Japan...

In this record are gathered the songs that Helen Merrill sung for the Italian TV

show I have just mentioned. The Italian words have been kept from the original

and they are by Fernando Cajati.

In "Night and Day", "Everything Happens to Me", "Autumn in New York", "These

Foolish Things" and "I've Got You under My Skin", Helen Merril is accompained

by a sextet made up by Piero Umiliani (piano), Nini Rosso (trumpet), Gino

Marinacci (baritone sax), Enzo Grillini (guitar), Berto Pisano (bass) and Sergio

Conti (drums). In the other items we hear instead a quartet formed by Piero

Umiliani (piano and celesta), Nino Culasso (trumpet), Tonino Ferrelli (bass) and

Ralph Ferraro (drums).

First ever official LP reissue of this rare 1972 classic.

"The perfect giallo score, from the opening tones of Edda Dell 'Orso, through jazz-bossa into dissolving dissonance, disarray and pathological destruction." -

Alvin Lucia Remastered from the original master tapes, and includes four previously unreleased tracks.

Exclusive and extensive liner notes by Alvin Lucia, original artwork and rare photos.

Deluxe 180-gm replica limited edition LP.

“Stop here!” exclaimed Robert Oumaou as we passed a mango tree on the side of the road just outside of Point-a-Pitre, the balmy capital of Guadeloupe. He filled a plastic bag with ripe fruit, and we set off on our journey across the small Caribbean island in search of musicians he hadn’t seen in years. On the way, we shared stories in broken French and English, stopping at truck stops to eat delicious fried fish. Robert took me to his hometown, and placed a mango and a flower on the grave of his teacher and mentor, a local poet. The seeds of Vwayajé (Traveller) were sewn on this trip, but shortly after returning home, I heard that Robert was ill, and he sadly passed away in 2018. This compilation was originally intended as a way to share Robert’s brazen work with a wider global audience, but it now also serves to immortalize his indomitable spirit.

Gwakasonné is the ecstatic articulation of Robert Oumaou’s artistic and political vision, a unified expression of his interests in American jazz, pre-colonial rhythms, Guadeloupian independence, and Créole poetics. Over the course of three albums, all released in the 80s, Robert piloted a revolving cast of musicians, a venerable who’s-who of Point-a-Pitre avant-jazz pioneers, to deftly intone his creative communal concepts. The songs on Vwayajé are compiled from these three releases, Gwakasonné, Temwen, and Moun, along with an electronic mantra taken from his 2007 solo album Sang Comment Taire. Viewed from our current artistic and cultural landscape, Robert’s work is exceptionally enduring, grounded in its declarations of freedom and foundational use of the Ka (drum) and voice, and prescient in its borderless explorations of protest folk, electronics, ambient atmosphere, music from the African diaspora, and spiritual jazz. The long-form hive-mind expression of the group has parallels with similar explorations by The Grateful Dead, electric
Miles, Pharaoh Sanders, and even the Boredoms, but these are only oblique references for a truly peerless sound. Like other conceptual children of Gérard Lockel, the group was part of a progressive movement of like-minded musicians, such as Serge Fabriano, Dao, Erick Cosaque, and Gaoulé Mizik, who embraced Lockel’s modernist ideals, fusing Gwo Ka drumming and tuning systems with contemporary jazz and vanguard recording technologies. Robert’s ecstatic phrasings, embrace of electronic instruments, and daring lyrics set the group apart as the beatific expression of a sagacious soul.

Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trejectory.

Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.

The first introduction into the world of Koma Saxo comes in the form of a 7"/digital single "Port Koma / Fanfarum For Komarum". Side A presents a restlessly dubby beat track, which would be ripe for hiphop sample use. The flip launches into a joyful full-on groovy free jazz fest which is hard to resist. Think Art Ensemble of Chicago at their swingingest but add a little "Nordic Noir" dropped right into the busy streets of Berlin's Kreuzberg.

ABOUT//BLANK is a collage of collages, an EP pasted together from tracks that are built of parts of various tracks, recordings, sketches, hooks, grooves and loops that Persian Empire has been working on in the past few years. It's a warm piece of fragmented soul music and a project that's far more vocal than any of Sam Khatam's previous productions.

The vocals, though, float in a cloud of haze. Recorded lo-fi, on the fly, impro style. They're intentionally imprecise, leaving blank spots and holes for listeners to fill in. Thus the play of these ambiguous lyrical fragments becomes not just open to but in fact invokes obligatory interpretation. It's the listener who with active interventions solves the mumbles and connects the gaps.

The EP draws from classic funk samples and hiphop production techniques and nods to the end of 90s cut 'n' paste of vanguard styles Mo' Wax, Warp and Chocolate Industries championed so well. With all this retro, throwback swing Persian Empire delivers soft soul that doesn't fit anywhere but in the present.


Persian Empire has been immensely influenced by UK dance styles, from 2step to bass yet his music usually can't happen without the usual intruders - from jazz to experimental electronics and hiphop. With special attention to rhythmical details Sam's put out music for labels likeCosmonostro and Record Record and since 2015 he runs his own Prrrrrrr Records, with a focus on young promising blood.

His live acts are not to be missed.