Pop & Rock News

Nina Simone is one of those rare artists whose greatest work might have been her live recordings. A consummate interpreter of other's songs, it was on live recordings that she really stretched out her sound and truly found her most powerful voice. This 1962 live recording was her 3rd live album for Colpix and the loose, swinging trio that backs her perfectly compliment her versions of classics like "House of the Rising Sun", "Bye Bye Blackbird", and Olatunji's "Zungo". A perfect live recording from one of the masters.

Ray Charles' 1957 album The Great Ray Charles is his second long player for the legendary Atlantic Records. An instrumental jazz album, it was released 2 years before Charles became an international superstar with the hit recording "What'd I Say". Though Charles was already nearly a decade deep into his recording career he'd yet to have a massive hit and was a difficult artist to pin down as his tastes ranged from jazz to pop to R&B. Featuring longtime band member David "Fathead" Newman and with help from the arranging and songwriting genius Quincy Jones, this is a beautiful, swinging, and laid-back jazz album necessary for any fans of Ray.

The Incredible Jimmy Smith, one of jazz music's most popular artists of all-time, recorded this classic piece of swinging and soulful organ grooves in 1960 with the help of long-time bandmates Stanley Turrentine on sax, Kenny Burrell on guitar, and Donald Bailey on drums. One of his catchiest early titles, this is pure party music, the perfect compliment to a summer BBQ with a cold beer. Classic.

The cello, although considered a minority instrument in the history of jazz and improvisation, has carved itself a niche, both in the USA (Fred Katz, Calo Scott, Abdul Wadud, Diedre Murray, Peggy Lee) and in Europe (Tristan Honsinger, Maarten Altena, Denis Van Hecke, Ernst Reijseger). Alongside Didier Petit, Jean-Charles Capon is one of the French virtuosi on the instrument, which he began playing professionally at the beginning of the 60s, before creating the Baroque Jazz Trio. His name was rapidly linked to different cult groups for who he became the guest star (Confluence, Perception, Speed Limit), but also with many more or less well-known (free) jazz musicians including David S. Ware (with whom he recorded the impeccable duo From Silence To Music), Philippe Maté, Michel Roques, André Jaume or Joe McPhee (as part of Po Music). Jef Gilson helped get his career under way (they recorded together as far back as 1968) before Pierre Barouh, boss of Saravah records with who Jean-Charles Capon played alongside Brigitte Fontaine and Areski, offered him the opportunity to record his first album: L'Univers-solitude.

In the company of Swiss percussionist Pierre Favre, Jean-Charles Capon demonstrated, in all registers, a level of invention way beyond a traditional rhythmic and melodic background, with the fluid phrasing a perfect complement to his extended range. It is not for nothing that Jean-Charles Capon admires Duke Ellington, John Lewis and Gabriel Fauré, as can be heard on his later highly personal versions of "Mood Indigo", "Django" and "Après un rêve". As for Pierre Favre, he is not there just to make up the numbers: his timbral research and combinations of complex rhythms offer the French cellist wonderful interaction throughout this remarkable album which had finally been given a dignified rerelease.

The fluidity of the phrasing, timbral research, complex rhythmic combinations and rare sense of improvisation make this one of the best modern jazz recordings on the Saravah label in the 1970s.

First ever vinyl reissue - 500 copies - Gatefold sleeve - obi strip - Licensed from Saravah

We're proud to welcome the new Paris-based punk jazz duo La Récré to the BMM roster ! Drummer Cédric Laban and keyboardist Émile Sornin (aka Forever Pavot / Born Bad Records) make sure to bring you hot rhodes-filled grooves to start off spring season ! La Récré clearly created their own innovative touch by tackling themes such as school breaks and playground fun-time, helped by their long experience in the Paris music scene. To sum this up, La Récré's debut EP is a groovy explosion of nostalgia and infantile energy condensed in 4 stunning punk jazz and hip-hop inspired tracks.

Their first EP has been issued for a very limited quantity on 10 inch records for the Record Store Day and will be available in France's bests record shops on April 13th.

Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

Day turns to night as Mark de Clive-Lowe's Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum'n'bass and broken-beat.

On Heritage II, de Clive-Lowe is joined by a cast of world-class musicians: Josh Johnson (Leon Bridges/Esperanza Spalding), Teodross Avery (Talib Kweli/Mos Def), Brandon Eugene Owens (Terrace Martin/Robert Glasper), Brandon Combs (Moses Sumney/Iman Omari), Carlos Nin~o (Build An Ark/Lifeforce Trio) and Tylana Enomoto (Kamasi Washington/Bonobo) - who all contribute stellar performances in support of de Clive-Lowe's music.

Although his albums are full of the same qualities as those of many other star saxophonists / flautists playing spiritual jazz, Frenchman Michel Roques is often classed as a "supporting artist" or a "musicians' musician", forever in the background, and often left out of the reference books. Adding to this lack of recognition is the fact that he was seriously under-recorded: five albums as leader in a career of almost twenty years does not amount to much!

Thankfully, in 1972, Pierre Barouh, boss of Saravah records made up for the injustice by offering him the opportunity to record ''Chorus'' in studio, providing a continuity with the equally brilliant ''Safari'' made four years earlier. An ambitious work, ''Chorus'' owes much to the unusual 'augmented' rhythm section, the inner structure of which is none other than that used in the Parisian trio of pianist Mal Waldron at the end of the 1960s: namely Patrice Caratini on bass (completed by the cello of the amazing Jean-Charles Capon) and Franco Manzecchi on drums (seconded by the percussion of Humberto Canto). Another notable singularity is that Michel Roques had the excellent idea of excluding the piano, traditionally employed in this kind of context. This didn't prevent ''Chorus' from being played on French TV in 1973 with a piano replacing the cello, and a different voice reciting the beat-style poems of Nicole Roques, that of actor Jacques Degor, occasional collaborator with Jef Gilson but far less convincing than Bachir Touré, wisely chosen for this recording for his style inherited from Afro-American preachers and capable of holding his own with the wild improvisations.

In its own way, ''Chorus'' is one of the key albums mixing free jazz and spoken word 'à la française'. It is also a militant concept album which has lost nothing of its political force.

First ever vinyl reissue - 500 copies - Gatefold sleeve - obi strip - Licensed from Saravah

Melting jazz, rock and zeuhl influences, French unit POTEMKINE released its first album in 1976.

Far from their early days as a garage cover band, this masterpiece is the beginning of a singular musical odyssey lead by the Goubin brothers.

A must-have for every MAGMA or WEATHER REPORT fans out there.

The ultimate GAMM classic is finally re-pressed on a beautiful dinked 7inch and with the the original artwork too!

Not much to say except that this is a no brainer for any decent DJ...

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Smalltown Supersound Präsentiert Unveröffentlichte Aufnahmen Des Heute 58-jährigen, Norwegischen Ambient-meisters Erik Wollo Aus Der Zeit Zwischen 1986-1992. Inspiriert Von Jon Hassell, Brian Eno, Harold Budd Und Klaus Schulze, Fing Wollo Damals An, Mit Moderner Midi-technik Spacig-kosmische Klangkulissen Zu Erzeugen, Die Später Einen Massgeblichen Einfluss Auf Den Cosmic-sound Norwegischer Produzenten Wie Lindstrom, Björn Torske Und Prins Thomas Haben Sollten. Die Aufnahmen Auf "sources" Wurden Von Helge Sten (deathprod) Auf Basis Der Originaltapes In Seinem Audio Virus Lab Gemastered.

Whether the drummer mimics the machine or the machine mimics the drummer is no longer a question for cultural critique or estrangement theory: rhythmitised assembly on the factory line concerns only a minor part of today's working world. More important is the animistic core question: Is the subject (drummer) contained in the beat or does he lose himself to the beat Or does he follow an experimental setup that functions like a composition or a conceptualist experiment, that allows for both, considers both - Diedrich Diederichsen

Jan Jelinek, electronics Sven-Åke Johansson, percussion

recorded live at SYN/CUSSION Festival, Radialsystem Berlin, 07.05.2017

JAZZ DUO. New full length album by Wojciech Bakowski out now on DUNNO Recordings.

DUNNO: How was 'Jazz Duo' created

Wojciech Bakowski: It was made at home with an old equipment. I really do not like to develop in this regard.There are a lot of recordings from stock, more than on 'Telegaz'. Generally, I like working with some foreign style and mix it with my stuff, preferably on the principle of
incompatibility of the atmosphere. This has been my method for a long time. Combining contradictory emotions is not just about knocking the listener out of their senses, it's also supposed to create some kind of harmony. I listen to stock on my web browser while playing or listening to my recordings. Sometimes I mix only stocks with one another. This is how the song is made, to which I add my own thing. Later, I adjust the text, sometimes I also play out live instruments, such as bass.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

Formed in Tokyo in 2017, Ronin Arkestra brings together some of the finest and most creative players in Japan's Jazz and and electronic scene. The collective includes members of Kyoto Jazz Sextet, WONK, Cro-Magnon, Root Soul, Sleepwalker, Sauce81, Kyoto Jazz Massive and, of course, band leader Mark de Clive Lowe.

Kicking it all off is 'Stranger Searching', where lush electronics meet beautifully executed Jazz in full story mode. A constantly driving beat push this track along through its various chapters, with each member of the band given time tell their tale. Horns from Shinpei Ruike, Kohei Ando and Wataru Hamasaki tie everything together in beautiful harmony.

'Redeye Reprisal' hits hard right from the top. With soaring horn lines and beautifully soulful keys from Mark de Clive Lowe, it is drummer Hikaru Arata who is given time to shine in this piece. Wild patterns add to the frenetic nature of the piece, creating drama and mystery before it safely delivers you home.

Flip the record and we are back in story mode again. 'The Silk Road Prelude' is Japanese Jazz at its finest. A solid theme gives definition to this piece, with the horns once again providing all the drama you need. Carefully interspersed with beautiful guitar playing from Tsuyoshi Kosuga, and interwoven electronics from Sauce81, drummer Nobuaki Fuji and bassist Shinju Kobayashi control the groove with exquisite detail.

The final track needs no introduction. 'A Love Supreme' is what legends are made of. Beautifully reimagined by this fine group of musicians, this is the Sunflower moment, a group showing its full dedication and respect for the Jazz masters. A band of Ronin, dedicated to follow the sun until it sets.

Boyoom Connective will release a mini-album by the talented producer duo Okvsho. Their EP Traphouse Jazz discovers jazzy hip-hop beats, brings it together with organic sound and adds some deep going lyrics on top. If you store world music, hip-hop and jazz this EP you don't wanna miss.

The Source is the Nigerian drummer's first album for Blue Note, one of the most prestigious names in jazz and a label that has opened its sphere of activity considerably wider since its renaissance in the Eighties. Perhaps more than any other title in the catalogue, The Source represents the label's classic era at the same time as it symbolizes Blue Note's innovative present. The album achieves this by means of a sound-aesthetic that has total integrity, the result of a scrupulous transcribing of the music using a technology that is exclusively analogue, and doing so according to the precepts of the virtuous philosophy inherited from the label's founders, Alfred Lion and Marx Margulis.

Hyperjazz Records is the product of the ever-changing language that is modern music, of its frantic and unrestrained evolution. A crossroads between past and present, and where jazz attitude meets new sounds and aesthetics.
 
HJ is the brainchild of Raffaele Costantino, known internationally for his meteoric rise under the moniker DJ Khalab, but known also for being a committed exponent of black and electronic music in his own country. Together with his friends and collaborators, and counting on a strong network both in Italy and abroad (Worldwide FM, BBC, NTS, Bandcamp), the DJ/producer/radio presenter (Musical Box, Rai Radio2) has given life to Hyperjazz, the result of two years of planning, reflection and research.

The Word Was Made Phresh is the name of Phresoul's new album, out on March 22nd on Hyperjazz Records. Seven instrumental tracks, tight and essential, which bring into sharp focus the talent and versatility of one of recent years' most interesting groups in the jazz, hip-hop, and alternative-rock scenes. The new project by the trio, which is one third English and two thirds Italian, formed by Charlie Stacey (piano, fender rhodes, synthesizer), David Paulis (double-bass) and Enrico Truzzi (drums), dismantles jazz's traditional rules, absorbs influences and contemporary sounds and portrays with lucid irony the contradictions and conflicts of our times. This record comes two years after their debut Metempsychosis, and solidifies Phresoul's sound, where noise-rock improvisations coexist with neo-psychedelia, abstract hip-hop and space-jazz.
 
Just like in 'Monitor Lizard,' a syncopated piece which introduces us with immediacy to an energetic jazz interference, able to capture a single moment, moving as rapidly as a reptile, never in straight lines. The melancholy beats of 'Institutional Violence' punctuate the piano's melody, which slowly transforms into synth and the futuristic slow-funk of 'Sphere Alliance,' anticipating the accelerated beginnings and pauses of 'Lithium,' an undoubtedly hip-hop jazz 3.0 track. The liquid atmospheres and irregular drumming of 'Hipster Antichrist' bring to a close with amused hysteria this rhythmic ellipsis which looks at the West with melancholy and little confidence ('Trump-Pence').
 
The tension built by the continuous changes in rhythm is released in the torrential 'Blended Family,' in which Stacey's keys progressively conquer space between the noise-guitar and the powerful and irregular beats of drum'n'bass, for an epilogue to a fresh and original record that is inspired equally in its inception and its execution.

· Album presentation live @ Camden Assembly London, 13th June
· Genre-spanning UK jazz artist who has worked with the likes of Craig Charles Fantasy Funk Band, Nightmares On Wax, The New Mastersounds, and Rae & Christian
· Follow-up to the debut and highly credited La Sombra from 2017
· Features guest UK trumpeter Matthew Halsall on 'The Mirage'
· La Sombra made Gilles Peterson's 'Best albums of 2017' list, with a track included on Brownswood Bubblers 12
· Part of the Matthew Halsall live band and toured with Dwight Trible

Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham's globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip's many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights.

After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, 'Barrio 71' sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. 'Snake Eyes' taps into the meditative exaltations of modal jazz, while 'Soho Strut' nods to the jazz fusion, funk-influenced side of Chip's playing.

Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. "Shamal Wind" is a heavy record, built on strong foundations.

Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.

On "La Sombra":
"This is coming from the outside, I was like whooooa, easy. Blowing hard - they got it right! Gilles Peterson
"I'm becoming convinced that Chip Wickham is a genius" Craig Charles
"An impressive solo debut" London Evening Standard
"Majesterial and electrifying stuff" 9/10 Blues & Soul Magazine
"Tonally and melodically elegant and with a distinct 1960s/1970s vibe" Scotsman

There is no doubt pianist Hendrik Lasure is one of the greatest talents the Belgian jazz scene has known in the last decade. At the young age of 22, he already is somewhat of a living legend within an incredibly productive and creative Belgian jazz generation that is coming to prominence.

His big breakthrough came in 2016 when he released a well received album with drummer Casper Van De Velde under the name SCHNTZL. Together they explore the limits of jazz, minimalism, neo classical music and electronics. Not only did they win over the typical jazz audiences with their contemporary tunes: artists like Bent Van Looy and An Pierlé just as much showed their support from the very beginning. The latter was so charmed by both young musicians she instantly recruited them for her brand new An Pierlé Quartet.

On the occasion of JazzLab Series and W.E.R.F. Records' 25th birthday, Hendrik was asked to launch a new project in 2018. He gathered his personal dream team and founded ' warm bad ', a seven-headed ensemble featuring Sam Comerford (saxophone), Vitja Pauwels (guitar), Benjamin Sauzerau (guitar), Marco Giongrandi (guitar), Soet Kempeneer (bass), Casper Van De Velde (drums) and Hendrik Lasure himself on piano and vocals.

Together they dove into the studio of friend and producer Koen Gisen to record a dozen new tracks, one by one composed by Lasure. The repertoire hovers somewhere between jazz, minimalism and dream pop. Added bonus: Hendrik reveals himself as a singer for the first time. In doing so he is supported by An Pierlé , who contributed the backing vocals to the single 'Jonas'. Not bad for a debutant singer!

Providenciales Records proudly presents its first release, a reissue of Children of The
Earth by the band Nimbus, independently released in 1980 in the USA, and including an
exclusive track from their second recording session (only available digitally), "You're
Everything To Me".
The band, made up of 4 friends, used to play jazz and soul music at bars in Detroit, when
they decided, in 1979, to record an album gathering compositions of a couple of band
members. They gave birth to Children of The Earth, a sophisticated and melodious album,
with a pinch of AOR, a relish of modern-soul, but also some jazz and folk influences. "Baby
You Know" or "Nezarai" give a groovy dimension to the album, whereas "Hold Me Close" or
"What You Mean to Me" are more laid-back tracks. 'You're Everything To Me', the digital
bonus track of this reissue, which comes from a another recording session, was previously
unreleased.
With less than 1,000 copies pressed and sold locally, the band didn't have the chance to
reach a broad audience until recently. In the past few years, Bill (bassist of Nimbus)
received dozens of emails from collectors around the globe (Japan, USA, France, UK,
Netherlands...) asking for a copy of it.
500 copies pressed, fully remastered by the Carvery (London, UK), and licensed from Bill Capsalis for
Providenciales Records

If 2018's WOLFEP046 touched on the burgeoning talent of rising Portuguese star Pedro, this 2019 follow-up delves deep into the accomplished head that rests on those youthful shoulders.

Opening the EP, 'She is' gives a taste of the path Pedro takes with this record. A ten-minute twisting trip, that moves and melds modern jazz leanings with a rugged aesthetic. Off kilter sax flurries, at times gleaming, at others melting, open up the distorted dreams of Pedro's world, as a metronomic double bass attempts to steady the ship. Metallic rides and abrupt percussive hits contrast with the sustained piano chords, further foraging down his surrealist sidewalk.

Take to the flip to find the waltzing 'Faces sob o sol'. A beatless contemporary jazz piece in 3/4 time, where deft piano melodies dance around a looped up, muted guitar phrase and twanging riffs. A simplicity born from only a handful of layers, that in turn creates a free-flowing fluidity through this jazz rabbit hole.

The most club ready of the cuts, 'Alef' rolls around next, where a funked out bass and psychedelic strummings, marry with crisp cymbals and polished piano playing. Pedro's dream inducing trip still takes its hold though, with distorted, panning, hallucinogenic vocal cries swelling across the airwaves.

Stepping up to close out the EP, Moomin flips 'Faces sob o sol' on its head, laying a rough and ready, liquid DnB rhythm as the basis alongside adding delicate arps and sweeping, atmospheric pads that follow Pedro's original. As hypnotising as its forebearer, but with an ethereal dancefloor orientated radiance.

With hundreds of new producers cropping up, week by week, it's rare to be challenged by something of such high quality from an up-and-coming artist. And with jazz finding a new lease of life across the UK, Pedro's latest output will be sure to find a home on these shores.

Harbans Srih : drums
Frank Brennan : bass
Mark Steeds : keyboards
Steve Tayton : sax/flute
With
Jaki Graham : vocals

Harbans, Steve and Mark met and recorded library music a few times prior. Steve and Mark were from Coventry and Harbans, Frank and Jaki were in Birmingham.

Everyone was involved with the scene at the time playing jazz/funk and soul music with various acts.

Harbans had played with the popular disco/funk band The JALN Band.

Frank played with the Cissy Stone Band who had a great following.

Steve and Mark were in a popular jazz/rock/funk outfit called Pzazz.

Jaki was singing in various bands and drawing a great deal of attention, of course we all know she went on to some great pop success.

These songs were recorded sometime around the 1980's, during that explosive time of uk jazz funk, where it had a massive following up and down the country.

Caravela are an Afro-Brazilian quintet with members from Portugal, South America, Australia and the UK. Their music is an exploration of the communal traditional and spiritual music of Lusophone countries like Brazil and Cape Verde, approached with a contemporary groove and feel.

Caravela shine a light on traditional rhythms and styles and reimagine them with a jazz attitude of improvisation. Blending influences like Baden Powell, Mayra Andrade and Lionel Loueke, Caravela's exploration of Afro-Brazilian music on their debut EP is not to be missed.

Project Karnak is the production duo brainchild of keyboardist Dominic Canning and drummer Sam Ouissellat. 'Equinox' is their debut EP released on London label None More Records.

The whole idea behind the band is that they make synthesised, electronic sounds and bring them into a "jazz" realm accompanied by tight, energetic and fresh drums.

The duo meld influences from drum & bass, jazz, funk and the "Final Fantasy" soundtrack into their fresh new sound.

"Someway Still I Do" is a record enriched by the immediacy of pop, the quality of the arrangements, timeless music that echoes the glory of unforgettable soundtracks, the finest orchestral jazz and the great adult pop productions of the past. Today in 2019, exactly 10 years after its first release on CD, Magnanini's record is reissued on a special 2-LP version with two brand new tracks included on side D: "Cried For You" features once again Cousteau's singer Liam McKahey at the mic, while "Morning Light" is accompanied by Elisa Aramonte's smooth vocals, a new talent joining Magnanini's project "Someway Still I Do".

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Ilmiliekki Quartet is a band of four star-calibre Finnish jazz musicians. The group is a key unit for each of the artists, and one of their original vehicles of creation since its formation in 2002. Here, trumpet player Verneri Pohjola, pianist Tuomo Prättälä, bassist Antti Lötjönen (of The Five Corners Quintet, Timo Lassy Band, 3TM, etc.) and drummer Olavi Louhivuori (of the late Tomasz Stanko's quintet and Oddarrang) present their first new album in 13 years. "Land Of Real Men" is a milestone which will stand strong in each of the four musicians already remarkable discography. Stylistically Ilmiliekki Quartet range from the delicate end of the sparse contemporary jazz sound to the depths of Nordic fire music, always making music which is highly personal and melodic to the bone.

Presented in gatefold 2LP, CD and digital formats, "Land Of Real Men" to be released via Helsinki's We Jazz Records on April 26 offers eight stellar Ilmiliekki cuts, each with its own strong character. The stylistic narrative of the album takes the listener on a journey much akin to the groups celebrated live shows, which are always a hit in their native Finland, but which have also taken the group to Europe, US and Australia. Ilmiliekki Quartet (which roughly translates as "Quartet Ablaze") were one of the big success stories of the "first wave" of Finnish jazz in the new millennium, and although they never really went away, the band is now back with a vengeance.

Four Flies launches its new jazz series dedicated to top Italian soundtracks from the 1960's with this extraordinary work by Piero Piccioni: 3 NOTTI D'AMORE (3 Nights of Love). Originally released in 1964 on CAM - CMS series, this record had a very limited pressing, and is considered one of the grooviest and jazziest scores composed by the legendary Italian maestro. Thanks to the support of an exceptional big band, Piccioni shapes a unique cool style, supported by a truly exotic and percussive rhythm section ("Come on Rome", "Just For Fun"), full of charming flute phrases ("The Easy Way") and baritone sax passages ("Pop's Lolly"), and beautifully played by the two great soloists, Gino Marinacci and Gato Barbieri. Piccioni himself plays the piano on all the tracks, and created a magnificent, dynamic and sophisticated soundtrack. Pressed for the first time in its integrity, this soundtrack includes some missing numbers from the original record, and presents others in their extended full versions, such as "Sally's Surf" (compiled in the essential Easy Tempo series). A superb album featuring marvelous tracks - from bossa to pop-jazz - this original soundtrack also features a couple of tracks by Carlo Rustichelli; two dreamy, sensually vocalized melodies. One of Piccioni's lesser known masterpieces that truly embodies that golden time period, and a real beauty for every 60s jazz lover.

Dreamy bossanova, baroque-jazz, fuzz guitar, psychedelic flute, wide and panoramic themes sung by the heavenly Edda Dell'Orso, and arranged by her husband Giacomo (a.k.a. Oscar Lindok). And furthermore, kriminal beats, spy-exotic flavours, and dreamlike suspense, as well as the unmistakable voices of I Cantori Moderni di Alessandroni.
Recorded in 1972, but previously unreleased on any format, THE LONG ARM OF THE GODFATHER, a.k.a. RAFFICA, embodies the essence of the best Italian soundtracks from early 70s. Pure class and top-quality sounds, played by some of the best Italian session musicians of the time.
After the amazing discovery of the terrific and esoteric score to SORTILEGIO, Silvano D'Auria shines once again as a talented film composer. Groove, elegance, and sensuality are all brilliantly represented on this record. Limited Edition of 500 copies with a bonus CD included.

"The New Sicilian Sound"

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). This 45rpm anticipates the band's full-length album with two non-LP new tracks, exclusive to this release!

Helsinki-based duo Timo Lassy & Teppo Mäkynen present a new two-tracker on We Jazz Records and dive deep into different moods on this 7" / digital single release. Lassy plays sax, Mäkynen (who is also known as "Teddy Rok" and via his Stance Brothers alias) plays drums and handles production duties. First up, we have "Zomp", a deliciously slow funk piece with enough groove to move mountains. On the flipside, "Dark Magenta" takes things leftfield with its tech-like rhythmic approach applied here onto an acoustic jazz quartet and hinting at Mäkynen's interest in electronic music.

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. "Zomp / Dark Magenta" is out on Helsinki's We Jazz Records on 3 May. The 7" vinyl single follows the label's path of producing their singles with beautiful heat-pressed labels and serving them just right in generic brown sleeves.

A wide selection of rare Turkish funk, jazz, beat and psychedelic music from the 1960s and 1970s.

This is the third issue of the groundbreaking Bosporus Bridges compilation series started in 2005 (Vol. 1) and continued in 2011 (Vol. 2).

Why did it take so long for the release of Vol. 3 Because deep digging, deep selecting and our wish to serve you Turkish pop music of the highest order takes its time. And it is worth doing so. According to the aspiration of the Bosporus Bridges series you will get extraordinary music, opening your mind and remapping your knowledge of Turkish music.

As Turkish pop music is a hybrid of Western and Eastern elements, it's not just funk, jazz, beat and psychedelic music but each time a specific Turkish approach to a hybrid pop music. This incorporates Turkish language, instruments, melodies etc., all mixed with electric instruments, drums and sound effects of Western pop music.

Enjoy deep Turkish funk by Seyyal Taner, Süheyl Denizci, Cengiz Coskuner and Erkut Taçkin, Turkish jazz by the Burhan Tonguç Ritm Grubu and Figen Han, Turkish beat by Lili Ivanova, Ajda Pekkan and Fatos Balkir, Turkish psychedelic by Semra Sine, Serter Bagcan and Harout Pamboukjian, and Turkish-Asian rock by Dönüsüm & Halit Kakinç.

Quality LP vinyl pressing with restored and remastered audio material of the original records. Comes in a wonderful, authentic and special seventies English-styled old-fashioned cover.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

THE original Jazz dance classic is finally re-pressed once again on a beautiful 7inch and with the original label artwork.

This cover of Pharoah Sanders original anthem was one of the biggest records when it was released back in 2002 and was played all across the globe by everyone from Gilles Peterson to United Future Organization.
Proper "Jap-Jazz" but recorded in Sweden and produced by no other than Mad Mats himself!

Compilation (LP + DL) Un-earthed latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of 60's Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world.Sensual voices and Bolly-wood-like orchestra sounds inflame the senses of the body with an in-tangible exotic twist! All music is remastered from original 45's pro-duced by Sono Cairo

The SlothBoogie crew welcomes man of mystery Joe Cleen to the SBEDITZ series with 4 outstanding raw and ready cuts.

Starting us off is the certified disco monster 'Give You All I Got'. Infectious brass, erotic vocals and huge space toms are reworked to launch any dancefloor into the stratosphere! Next up is 'City Nights' a neon soaked snapshot of an 80's nightclub in miami filled with rhythm guitars, slap bass & gliding synths.

Things get emotional on the B-side with 'Dear Lord'... A glorious piano jam laced with dubbed out gospel vocals, shuffling drum machine hats and a pimped out G-Funk synth lead that really takes you to church! Closing out the EP is 'The Fun Part', a bubblin' bass funk groover filled with crisp percussion and jazzy Rhodes licks.

A 9-track album featuring special guests including Andre Espeut, Moniquea and Adam Chini. After his first album on Omega Supreme Records, the Portuguese producer brings us a new album in which funk, boogie and jazz are fused creating delicate pieces full of groove with a sound that leads us to the 80s. Don't miss it!

Limited pressing of mythical edits by GLENN UNDERGROUND of rare jazz funk fusion music of EDDIE RUSS "TAKE A LOOK AT YOURSELF", SARAH DASH "COME AND TAKE THIS CANDY", GARNETT MIMMS & TRUCKIN' COMPANY "WHAT IT IS" & SIDE EFFECT "NEVER". Hand stamped, paper sleeves. Another winner, don't miss it!

johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

this is an album by vocalist mayumi sonoda—a jazz vocalist who looked up to chris connor and made her debut at a us army camp at the age of 16—that was recorded with the help of kichiro sugino's trio.

opening with the bilingual ballad 'it's over,' in which she sings in both english and japanese, the album sees her covering standards that giants like helen merrill, frank sinatra and billie holiday have popularized, while showcasing her vocal abilities that set her apart from her peers. it's a hid-den japanese female vocal jazz gem.