Pop & Rock News

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Dead Horse Beats is the stage name of Canadian musician, composer and
singer Patrick Wade.

Described as "a groovy treasure packed with the excitement and emotion
of a danceclub makeout session" by Noisey; Wade's releases with labels
in Montreal, New York and London span moods and styles from eccentric
trip-hop to pensive R&B and rattling disco tinged dance numbers.
As a performer and DJ, Wade has entertained tens of thousands at
festivals including MUTEK, Canadian Music Week, Igloofest, and Halifax
Pop Explosion and shared the stage with the the likes of Breakbot,
FKJ, Tokimonsta, RJD2, and Charlotte Day Wilson.

As well as a producer and songwriter, Wade's resume as a composer for
film and video includes award winning projects with the Royal Winnipeg
Ballet, Ubisoft, Landr and Destination Canada, as well as screenings
at Cannes, the National Geographic Film Festival and many other
festivals.

Wade's next album Inglaterra is scheduled for an April 2019 release
with Bastard Jazz Recordings.
Inglaterra', a ten song LP crafted over two years in the 28 year old
producer's Montreal studio, is a continuation of the Left-Field and
R&B influenced Soul of 2016's 'Bad Hopes'.

The Spanish word for England; 'Inglaterra' explores the concept of a
rainy vacation through deep, spacey grooves complimenting typically
pessimistic but vulnerable lyrics. Guest appearances from LA singer
Low Leaf on vocals and harp, frequent collaborator Francis Arseneau on
keyboards, and New York based saxophonist Jarryd Torff add soulful
expression to DHB's infectious, jazzy hooks.

With 'Weightless', their second LP, London-based soul/jazz ensemble Teotima are celebrating friendship, creativity, love, meditation, progress, and the work of being happy.

As musical director and guitarist, Greg Sanders, explains: "You create your own happiness. It's a discipline and a practice, learning what works and then remembering to do those things. So that's how I try to approach the music as well, bearing in mind moods and happiness. The work of being happy — like learning an instrument or a language — feels like something you need to maintain and do regularly.



In the music there's a lot of times where people are following the written music, but I also try and make sure that there's plenty of space for improvisation and solos and interaction. So you're creating the space and conditions for spontaneity and joy by using structure. It's how I write, but it's also how I try and live."


What exudes are 7 tracks that take full advantage of the remarkable breadth and depth of talent within the band's core members. "One of the most important things about Teotima is that the music is written with the specific players in mind - each player's voice on their instrument is an essential part of the group's sound".

This tradition of large-ensemble music written for the characters in the ensemble has a rich history stretching back to Ellington and Strayhorn. After the release of their debut LP 'Counting The Ways', First Word label boss Aly Gillani suggested that Greg should try writing for a smaller ensemble, to tour with.

Greg took up the challenge and focused on writing pieces which could work in differing arrangements/instrumentations, and workshopped ideas with other band members to develop the songs' sound and atmosphere.

Musically, the sounds span the Atlantic from the African continent to Brazil, the Caribbean, the USA and London, while sounding completely fresh and singularly captivating.

Album opener 'Suddenly' sees the Chakacha rhythm of coastal East Africa blended with the song-writing sensibilities of close friends and sometime collaborators Flying Ibex. 'If Every If' is the sound of Radiohead recording a samba with Bjork in Nashville, while 'From A Distance' sets Gil Evans style orchestration and a vocal performance reminiscent of Kadhja Bonet to a heavy Steppaz reggae riddim. Meanwhile, 'To Friends' is a joyful homage to South African township jazz legends Abdullah Ibrahim and Brotherhood of Breath, composed in the Ijexá rhythm of North-Eastern Brasil.

In the 6 years since 'Counting The Ways', the members of Teotima have been making waves with their own projects as leaders, as well as playing with contemporaries such as James Blake, Jordan Rakei, Waaju, Riot Jazz, and this wide-ranging experience in the band's joyful and sensitive performances.

From techno to to electronic cross-over classical, and now back again – Carl Craig’s Versus project continues to morph and evolve with the release of five beatless versions taken from the eponymous album. On the eve of the Carl Craig concert with the Chinake! Orchestra at the Royal Albert Hall (which promises to be mythical) InFiné partners with Planet E for the release of 4 exclusive, purely orchestral, versions. This Versus Beatless EP brings together the classical musical base used in the making of Versus (2017). These pieces “without electronics” give primacy to the orchestral texture of the instruments and to Carl Craig’s close work with Les Siècles during the recording sessions at Davoux studio. With this new take on 4 Planet E catalogue classics, Carl Craig and Francesco Tristano transport their listeners into a new time space. Techno is entering concert halls. The European musical tradition pays tribute to the city of Detroit.

“New York’s Harlem River Drive is a dividing line, a highway where the rich zip past the poor,” says singer Jimmy Norman. Eddie Palmieri’s Latin-funk band of the same name tackled these hard truths, playing prisons and speaking to the common man. Ultimately, Norman and Palmieri made a powerful socio-political statement that continues to resonate to this day." Pablo Yglesias/Wax Poetics. When initially released in 1971, many critics panned Eddie Palmieri’s album Harlem River Drive. Those critics were wrong. Regardless of critical opinion, the release was not the crossover success Palmieri and Roulette Records had hoped for, at least in the immediate. Over the years the release has developed a following among listeners, DJs, and aficionados of rare-grooves. The record may have been recorded towards the end of the Latin soul era, yet it features that genre's wonderful mix of Puerto Rican soul, Spanish Harlem Latin, and New York funk. Palmieri worked with an incredibly talented crew of Latin and R&B session musicians to create this quintessential New York vibe, a synthesis of funk and Afro-Cuban sounds. Contributors include Victor Venegas from Mongo Santamaria’s band, Palmieri’s brother Charlie, an accomplished musician in his own right, Bruce Fowler who went on to join Frank Zappa’s band, Dick Meza who went on to great things with Tito Puente, Ray Barretto and Celia Cruz, as well as Andy Gonzalez who’s pedigree includes recordings with Barretto, Johnny Pacheco, Willie Colon and even Chico O’Farrill. Also appearing Randy Brecker and one of the all-time greatest of the greats Bernard Purdy. An over-arching theme of Harlem River Drive is the thought that, as Palmieri puts it “The U.S. is richest country, all this immense wealth, side by side with the most intense poverty, racial prejudice; how is that possible?” A question that’s perhaps more even more relevant today than it was in 1971. A question that can be further explored with Get On Down’s reissue of this seminal recording.

With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns to JAZZ45 for the second time to wrap his chops around the 45rpm 7" format. This is the format that takes no prisoners - there's no time for noodling - and the result is an intense yet sensitive message of deep jazz, modal jazz, esoteric jazz, spiritual jazz; refined and concentrated into 2 whirlwind sides. Watch out for a double long-player to come later in 2019!

Reaching out to the real roots of the Jamaican sixties musical explosion…

Some of the originators of the genre, including Ernest Ranglin, Lennie Hibbert & Cecil Lloyd, playing in their element and demonstrating just where they're coming from

Brooklyn-based saxophonist Jonah Parzen-Johnson presents an inspired set of ambient jazz for baritone sax and electronics, captured at Helsinki's We Jazz Festival in December 2018. The mood of the set is intense, with Parzen-Johnson's powerful music blending perfectly with the spacious feel of the room. His commentary in between songs gives the set a communal feel, which can now thankfully be revisited in the warm spirit of this wonderful evening of music.

This We Jazz Records release is tape only in terms of its physical distribution, while also a digital version is offered for streaming and download. "Helsinki 8.12.18" by Jonah Parzen-Johnson is a part of the ongoing "We Jazz Live Plates" series documenting the label's live activities.

Take a pinch of classic Blue Note soul jazz, some stylings from the 1970's afrocentric movement, and streamed to perfection lines of a lead jazz guitar and you've put together the pieces of Sami Linna Quartet's sound. Their album on Timmion is one for the dark evenings, for the first rays of sunlight cracking through a summer mist, for the dance floors of the mind.

Kicking things off is "Black Mountain", a 7-minute mix of unisono tranquility and bursts of energy, giving spacious solos to both Linna and saxophonist Jussi Kannaste. The firm and disciplined groove paves the way for the aptly named "Dreamsville", in which Linna takes the lead accompanied by Mikko Helevä's mellow organ and Dana Hall's gently sparkling drumming. "Umoya" and "Mode For Tomorrow" got a 7" edit release ahead of the album, but here both are revealed in all their glory, the latter clocking at all the way to 11 minutes. The LP finishes up with the swinging but edgy soul jazz of "Clowns", where the rhythm section of Helevä and Hall really get to shine.

Linna, Kannaste and Helevä have played together for two decades and drummer Dana Hall has previously worked with folks such as Ray Charles, Horace Silver and Joe Henderson, so there's combined experience in the quartet to pack the goods. Sami Linna is in the middle of completing his doctoral thesis on the subject of fusing modality and tonality in jazz expression. This serious focus is well reflected in his craft, but delivered with such levity that the listener can just kick back and relax.

Jimi Tenor and a group of friends visited twice at Edward Vesala's unique home (Sound and Fury Studio) in Korkeakoski in southwest Finland. It was winter 1998.
Matti Knaapi and Jimi Tenor has been designing and building instruments since early 80s. They brought vanful of apparatus to Sound and Fury which already had a large collection of Vesala's exotic and self built instruments.

During the two rather extreme sessions 13 songs got finished. The first part was released in year 2000. Sadly Edward Vesala passed away before the first part City of Women I was released.

City of Woman is
Edward Vesala, drums, vocals, instruments
Jimi Tenor, flute, instruments
Jimi Sumen, programming
Matti Knaapi, instrument design and construction
Iro Haarla, Anida Vesala, Tiina Huczkowski, choir

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Numbers 28, 29 & 30 in the Jazzman Holy Grail Series.

Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

We meet with Michael at our UK offices and over several hours he tells us the highs and lows of running Fable Records, leaving no stone unturned and with success and tragedy in equal measure. We also speak with members of all 3 bands, and they share with us interesting stories and cool anecdotes of the wild times in the mid '70s when their records were made. We acquire informative press cuttings and some awesome posters & flyers, and all of this we publish in a booklet included with each LP which are housed in a US-style tip-on sleeve. Jazzman Records - We Dig Deeper.

The Sokratis Votskos Quartet was formed in Greece in 2017 with a mindset firmly rooted in the sound and aesthetics of European jazz. Add to the mix a strong influence of US legend Wayne Shorter and of course their own personalities and inherent Greek cultural background - here we have the sound of jazz like no other. Look out for a long player later in 2019

Masayuki “Jojo” Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre
embodied the radical political movements of late ‘60s Japan. Having cut his teeth as an accomplished Lennie
Tristano disciple playing cool jazz in the late ‘50s, Takayanagi had his mind blown by the Chicago Transit
Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved,
going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new
direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso
chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to
tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later,
New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the
instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of
Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the
dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s
“Lonely Woman.” In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the
first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.
Culled from 1975 sessions by the Masayuki Takayanagi New Direction Unit, April is the cruellest month was
originally slated for release on ESP-Disk before the pioneering free jazz label’s untimely demise that year,
eventually being released on a 1991 CD in Japan. Part of the period of Takayanagi’s career which he termed
“Non-Section Music,” one can only imagine how its unholy racket might have altered an international
understanding of Japanese noise had the LP reached American shores upon its inception. On “We Have
Existed” and “What Have We Given?”, the classic lineup of Takayanagi with Kenji Mori (alto sax, flute, bass
clarinet), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) prove that free improvisation was
thriving well beyond Western Europe with a set of dilapidated, spacious clanging, Takayanagi’s squalling feedback
and Mori’s Eric Dolphy moves undulating atop the joyous clamor. The cataclysmic “My Friend, Blood Shaking My
Heart” is another story altogether. With the vertiginous abandon of a jet engine, the unit immediately launches into
an unrelenting sidelong barrage of frenzied, blistering noise. Infernal sheets of contorted sound find the berserk
instrumentalists hopelessly entangled as they urge the explosion deeper and deeper into ecstatic oblivion.
Takayanagi’s finely honed guitar abuse, Ino’s demonic squirming, and Mori’s ferocious reed attack occasionally rise
above the din only to subsumed once more by the maelstrom. And then, twenty minutes later, it’s over as quickly
as it began. Rivaled in intensity only by John Coltrane’s The Olatunji Concert, Peter Brötzmann’s Machine Gun, and
Dave Burrell’s Echo, April is the cruellest month finally, deservedly sees the light of day on the vinyl format for which
it was originally conceived, marking the first issue of Takayanagi’s music outside of Japan.

After numerous features and collaborations Obenewa, Kaidi Tatham and dego combine together to form Blacks & Blues.Three song based dance tracks to fill the void of underground vocal club music.

'Spin' is flavoured with S.A house & afrobeatz whilst Obenewa sings about the wonder that is love. 'You Know The Feeling' moves towards the funk that is synonymous with 2000Black and 'Don't Know Why (chant for love)' is purely the marriage between reggae and jazz.

We are very proud to release the new album of the exceptional Indonesian guitarist Dewa Budjana in a limited vinyl edition. As usual with the bustling guitar wizard, he has written all the compositions himself and in turn has collected a number of high-profile studio tracks for the recordings. Jordan Rudess is known by the prog band DREAM THEATER, Marco Minneman plays the drums with JOE SATRIANI and ADRIAN BELEW, and bassist Mohini Dey plays with STEVE VAI. Budjana also managed to win John Frusciante (ex- RED HOT CHILLI PEPPERS) for this album, not to mention guitar ace Mike Stern (MILES DAVIS, BLOOD SWEAT & TEARS, BILLY COBHAM). What a dream cast - and the colleagues make it playful to create such wonderful music that one thinks they have always played together. In fact, they only came together for these studio recordings. One bike makes the next - and the result is yet another peak in modern Progressive Jazz. No wonder if so much concentrated ability meets each other. With "Mahandini Acoustic" Dewa Budjana even donates a bonus track that only exists on this vinyl record!

Third Space was inspired by a digital painting of a house by Marilyne Blais. A printout of the untitled work was pinned to the wall in Casa de Haikustudio, becoming an unexpected influence on the record. The duo realized early on they had started to imagine the soundscape inside the dream-like dwelling. The depth of field is fuzzy, angles are confused, and the structural integrity is unclear. On Third Space, People Plus wander freely between real and psychedelic territories, dipping into trip-hop, downtempo, and jazz. They find their sonic context in a hybrid space - neither the bedroom nor the dance floor.

Third Space is the second release from People Plus, a collaboration between Joli B and Mood Hut's CZW.

Tallinn's Rando Arand joins up with LIITHELI to release four deep cuts entitled 'Alles' EP.

Rando Arand is an electronic music producer from Tallinn, Estonia with a background in sound design and experimentation. Arand released his first record on Asphalt Soliloquies back in 2017 and has since gone on to perform live at clubs and festivals around the Baltics sharing stages with likes of Dorian Concept, Gerry Read and King Midas Sound.

His 'Alles' EP sees him join Ali Asker's LIITHELI imprint who focus on supporting local artists from Estonia's capital following the likes of Mava & Nebukat, 1212a and the label boss himself, in addition to remixers from across the globe like Vakula and SH2000.

'Maandub' gets things rolling with dubbed-out aesthetics fusing hypnotic low end, meditative chords and eccentric synth stabs before 'Moondub' delivers soulful keys, deep riding bass grooves and fluid percussion.

'Joondub' maintains the breezy atmospherics as it delicately layers alleviating pads, organic pulsations and floaty modulations before 'Avardub' finishes things off with emotive melodies, fast-pitched, natural drums and melancholy tones throughout. Rando Arand 'Alles' EP drops on LIITHELI on 1st May 2019.

Collocutor to release new single ‘The Angry One’, announce gigs at Jazz Cafe and We Out Here Festival

Tamar Collocutor is back with her Collocutor ensemble for On the Corner’s first 7”

’T.A.O’ is a rage, a visceral expression of what gathers within, and the counter-reaction to our times. Verve, distorted psych guitar in combat with a flaming, rolling, discordant, flowing barrage of horns. This single is the anomaly from Collocutor’s forthcoming third album. Rooted in personal loss, it is a scream of bewilderment that builds to encompass the social, political and environmental crisis of our times.

The flip sees Tamar and Magnus P.I. (ex-Collocutor) sparring in an in-the-moment sonic Rumble in the Jungle. Lunging off of T.A.O’s bass line, Tamar tares hard up-river to follow the calling of ancestral drums into a cacophonous parade. Trance inducing rhythm and screams. Across winds of wood and brass Tamar’s voice weaves a rich vein of quality throughout the resurgent UK jazz/instrumental music scene.

The forthcoming LP (autumn 2019) is Tamar’s most personal yet, a reflection about grief. Artistic vision stewed in an emotive concoction. Loss, life changes and ‘Continuation’ paralleled at the macro level with unimaginable political malaise.

The record is an attempt to give voice to the (sometimes surprising) emotional states of being experienced, coloured further by the discordant machinations of our times.

From the inner microcosm of self to the (macro) overarching societal crisis Tamar has fulfilled her vision ‘of writing music that wants to be written’ with her ensembles third LP.

180gr vinyl. Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.In 1987 Gerry Vergult (Aroma Di Amore ) and Gerrit Valckenaers (Adult Fantasies) created an abstract universe where minimal post-punk basslines blend together with dub, tropical vibes, jazz, and dreamy electronica.
Most of the october nights in 1987 you could find Gerry Vergult (Aroma Di Amore / Fred A. / Adult Fantasies) and Gerrit Valckenaers (Adult Fantasies /The Colorist Orchestra / multi-instrumentalist) in a desolated Top studio in Gent. At that time and place they sneakily crafted and shaped this Nasca record while they were supposed to finish a new Fred A. record. They created an abstract universe where minimal post-punk basslines blend together with radio sounds in 'Nothing Toulouse', tropical tribal vibes oscillates between futuristic nostalgia and hunted dreams in 'Ketama' and 'Ritz', a sampled heartbeat slowly mutates in mesmerising midnight jazz and a drugged out dub groove of 'Kamayacha' transforms into the inner city blues of 'Josaphat'.


All tracks composed, arranged and performed by Gerry Vergult & Gerrit Valckenaers

Gerrit Valckenaers: piano, saxophone, clarinet, synths, samples, electronics

Gerry Vergult: guitar, bass, synths, samples, electronics

Produced by Koen Van Regenmortel

For people who like Jah Wobble, Jon Hassell, Brian Eno & David Byrne, dub, world, jazz, and dreamy electronica

Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

The interventions of Spring Heel Jack — sly repetitions, uncanny intrusions of feedback and melody, expansive organ chorales — subtly transform the proceedings, focusing with microscopic precision on the dramatic power and lyrical poise of their collaborators and throwing the sonic complexities of the ensemble into vivid contrast.’

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

A limited edition 7” release from the Holy grail library label FREESOUND. Schfiter is the meeting of two massive library musicians Jackie Giordano & Yan Tregger. DYNAMITE CUTS give you a super fresh loud 45 cuts. Including a re-production of the original sleeve. ALL tracks are first time on 45, don’t miss out x500 only.

A limited edition 7” release from the Holy grail library label FREESOUND sell for £400 Philopsis, massive drum breaks a library wonderfulness Jackie Giordano is also a part of this collective of writer` Votes the 3rd best library album on the Shawn lee and Johnny trunk DYNAMITE CUTS give you a super fresh loud 45 cuts. Including a re-production of the original sleeve. ALL tracks are first time on 45, don’t miss out x500 only

Following a banner year for Pete Cunningham — best known as dextrous saxophonist Ishmael and leader of the namesake Ishmael Ensemble - 2019 now brings debut album 'A State of Flow.' This new long player builds on Cunningham's work as proud protector of Bristolian heritage, sketching loving sonic pictures of the South West in his Bristol-inspired 'Severn Songs' series, whilst also incubating local visual and musical talent, within the Ensemble.

'A State Of Flow' touches on various styles of jazz, stirring ambient invocations, club-ready percussive workouts, spiralling grooves & hazy psychedelic electronica. This would be a confusing melange, but for Cunningham's excursions as a genre-agnostic DJ - something evident in the real house shuffle of 'Lapwing' - which evokes walking into a smoky afterhours haunt and finding a session in full, forward motion or the organic garage beats of 'Full Circle' and classic trip hop style 'Waterfall' fuelled by Holysseus Fly's honey toned and evocative vocals.

This album, borne of strong vision and stronger hometown pride, embellishes Ishmael Ensemble as one of the UK's finest new groups. As shown across 'A State of Flow', the future of Bristol's musical legacy is in more than capable hands.

Previous press:

'The best musical homage to the Bristol channel since Portishead' Uncut

'Unfolds like a shimmering stone skipping across a lake. Gorgeous' XLR8R

'These guys get better with every release' Gilles Peterson, BBC6 Music

'Beautifully Cosmic' Nabihah Iqbal (Throwing Shade), BBC Asian Network

'Absolutely gorgeous' Tom Ravenscroft, BBC6 Music

'Beautiful music' Dan Snaith (Caribou)

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

The Sound of New York City is proud to present 'Oh My Lord', the first original single by label head and seasoned DJ/producer Danilo Braca, aka danyb.

Inspired by the manic energy of early rock n' roll pioneers, Oh My Lord strips the 50's sound down to its basic ingredients of vocals, drums and bass, with a nod to the minimalist sampling approach of Detroit and Chicago.
Featuring the saxophone stylings of Troy Mobiuscollective, Oh My Lord Pt1. comes with six exclusive remixes by a dream team of artists, this 12" including DJ Spinna, Ashley Beedle & DJ Rocca.

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

Helsinki duo Timo Lassy & Teppo Mäkynen present strong body of work on their new LP which updates the sound of an acoustic sax+drums combo in a highly inspiring way. Lassy plays sax, Mäkynen plays drums and handles production duties. Consisting of 13 focused tracks each clocking in at around three minutes, the album's sound ranges from spiritual-tinged free playing all the way to delicious 4/4 groove hard-hitters, showcasing producer "Teddy Rok" Mäkynen's love for electronic music. That being said, the sound here is that of an acoustic jazz band, placed left of the timeline and thinking ahead of what this instrumentation could achieve. The overall sound is warm and inviting, with the various delicious details inspiring repeated listening.

As far as the term "award-winning" goes, here we have two of the latest "Finnish jazz album of the year" winners joining forces and doing what they do best. Both Lassy and Mäkynen are tried and tested stars of the vibrant Finnish jazz scene, and artists who have time and again proven to be highly inventive when moving forward. The new LP "Timo Lassy & Teppo Mäkynen" adds a significant new chapter onto their collaboration, and presents a new formation which will surely be a force to be reckoned with on the live circuit.

*** UNRELEASED JAZZ-FUNK FROM 1982 ***

Columbus, Ohio was a test market for cable and public access cable television in 1980. One time our band was playing an outdoor concert in a downtown park and I saw television cameras pointed in our direction. I couldn't resist talking to the people handling the cameras and was introduced to the man in charge of All-American Cablevision, Craig Schneider. He invited the band to do a concert in their TV studio.

By the time that actually happened, Randy Mather had gone on the road with Woody Herman. I'm pretty sure he recommended Paul Maslin to take his place. Paul learned our whole book in two weeks. I thought that was incredible!

When we got to the studio the day of the taping, one of the band members told me Jeanette Williams wouldn't be with us on the show. She already had an obligation for that day. We played the entire show live with no stopping and no retakes. For public access shows they didn't want to have to stop and start taping if they could avoid it.

They kept the master tapes for only two or three weeks at most for a quick rerun. Then they would reuse the master tape for another show unless you bought the master. By the time I learned this it was already too late to buy the master they'd made of our outdoor show.

As the studio was looking for volunteers I soon found myself behind the camera, then directing shows. I even wrote and directed three episodes of a comedy show I called Looney.

Little did I know Seeds of Fulfillment was in its last days. When it ended, Paul said he knew some musicians in the Chicago area, and asked if I would like to go along. I said yes. It was 1982.

All-American Cablevision and Seeds of Fulfillment, by David Drazin (February 2019)

Key selling points:

- all songs previously unreleased

- deluxe vinyl LP with old school tip-on cover

- incl. full album download code

- limited to 500 hand-numbered copies

Cut Capers are a 9 piece funk and soul band from Bristol. Through their live performances they have built a large cult following. Last years festival tour saw them at Latitude, Bestival, Womad and Glastonbury. Works from their 2016 DIY album "Say What" saw strong local support from radio play including BBC Radio Wales (Adam Walton), BBC Radio Bristol (Steve Yabsley, Jonny Ray) and BCFM. (Cut Capers have sold 1179 of 1500 CD's pressed of "Say What")

Cut Capers new album - Metropolis, now released with the support of Freshly Squeezed Music is set to expand on physical sales from the labels customer network as well as the bands extensive tour schedule. The Album captures an energetic live sound, fusing Funk and hip-hop, mixing female lead vocals with both Spanish and English rap.

The Sound of New York City is proud to present 'Oh My Lord', the first original single by label head and seasoned DJ/producer Danilo Braca, aka danyb.

Inspired by the manic energy of early rock n' roll pioneers, Oh My Lord strips the 50's sound down to its basic ingredients of vocals, drums and bass, with a nod to the minimalist sampling approach of Detroit and Chicago.
Featuring the saxophone stylings of Troy Mobiuscollective, Oh My Lord Pt1. comes with six exclusive remixes by a dream team of artists, this 12" including DJ Nature, Ashley Beedle & Radius Etc.

Hailing from Palermo, Smuggler Brothers deliver a unique sound, deeply rooted in the diverse and rich heritage of their island - Funk-prog flavoured Mediterranean library music with Arab and North Afrika influences. Produced by Massimo Martellotta (Calibro 35). Brilliant and relentless from start to finish!

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

Chris Corsano & Bill Orcutt Electric Smog, the next installment in Unrock's ongoing Saraswati series, will be the most rebellious and wildest to date. Again an intercontinental output, this is a dangerous, electric brew filled with exotic aroma from Cairo's sound guerilla, Alan Bishop (Sun City Girls), Maurice Louca (Karkhana), and Sam Shalabi (Land of Kush, Karkhana). The always-changing face of Dwarfs Of East Agouza shows them in a feverish mode with an adrenalin rush; massive eruptions fight a genuine flow. Chris Corsano & Bill Orcutt manage to sound like a tonal cyclone consisting of 156 musicians, blowing heads and minds away. Out of the blue they suddenly manage to change mode and develop mild, calm, and elegant/fragile melodies. Interplay between early Baker and Clapton in Cream's looser frequencies seems sometimes just a stone's throw away. Electric Smog is meant to be a twin release to Sir Richard Bishop and David Oliphant / Karkhana with Nadah El Shazly's Carte Blanche. One-time pressing.

Repress!

Contemporary house merged with space-age jazz & broken beat from Copenhagen newcomer Nejrup on debut release MANDA backed by a uniquely off-kilter remix from London soul stalwart K15 (Eglo / Wild Oats)

MANDA is a selection of intricate compositions for the dancefloor with a jazz centered approach to combining dance grooves with modular soundscapes & live instrumentation.

For Nejrup, a self-learned synthhacker, pianist and producer from Copenhagen, his debut MANDA is a result of years of experimentation and never-ending practice and noodling on his Fender Rhodes & homebuilt synth collection. Delivering a compositional complexity influenced by Radiohead and Floating Points, while letting his tunes simmer with airy synths and improvised live instrumentation combined with a love for depthful harmonies.

K15 backs the release with a soothing, heavily syncopated remix, as only he could do it. The Londoner, whose soulful touch and ear for melody has earned him high status in the jazz encompassing house- and broken beat circuit, through Kyle Hall's 'Wild Oats' and Alexander Nut's 'Eglo Records' and as center of the Culross Close outfit.

This 2nd release from this recently formed international collective of producers, musicians and DJs from the US, UK and EU continue with their edgy, jazzy but lo-fi sound that featured on Vol. 1 which had plays from Gilles Peterson, Francois K and Fouk. Vol. 2 includes 'Knocking On The Door Of The Cosmos' which seeks inspiration from high priest Sun Ra, with its rich synth parts and Rhodes electric piano. DJ friendly 'Payback' includes numerous short sample edits and vocal chops, while 'Son of Equinox' is a musician heavy jazz-funk cut with layers of trumpet, live bass and drums being reminiscent of Louie Vegas' Elements of Life work. 'Theme For Chicago' offers the Windy City a Roy Ayers-inspired bouncy head nod tribute containing just the right amount of dirt which is as inspired by Detroit as it is Chicago. And finally there's an added 'Bonus Beats' like it's 1983.