Pop & Rock News

Having been endorsed by Andrew Weatherall on his June 2017 NTS radio show, the band were inspired to release this four-track vinyl EP on their own label Big Shanty Records.

A heady mix of influences colour The Spellbinder Project sound, with elements of jazz, post punk, psych and funk in the blend. These tracks were produced by Malcom Catto, head instigator of the Heliocentrics and collaborator with DJ Shadow, together with Mike Burnham, who has worked extensively with Little Barrie.

The core band of Sean Pereira Summers (guitar), Michael Levison (bass) and Michael Rathbone (drums) are joined live by Lascelle Gordon from Vibration Black Finger on percussion and Chris Williams from Led Bib on saxophone.

Based on the worldwide success of Max Richter's groundbreaking eight-hour work SLEEP, his personal lullaby for a breathless world' - and the one-hour extraction from SLEEP, a series of remixes produced by a selection of well-known musicians and young artists. Vinyl release on March 4. (USA: March 25) The legendary Scottish post-rock band Mogwai, known for its special feel when remix of works by other artists, transforms Max Richter dreamy Path 5 in a darkly throbbing track, marked by snare drum and complemented by haunting guitar soundscapes and cool, arpeggiated synthesizer , In Remix Electronic Artist Clark (Warp Records) is from Max Richter Path 5 a sequence of three different, highly insistent musical scenes that send the listener on a heady trip - in Clarks words by Danny Elfman on Popol Vuh to Slint, merged in a planet of music.

Anglo-Mauritan producer, percussionist, and vocalist Mo Kolours
makes a welcome return to 22a following on from his two highly
acclaimed albums on One Handed Music. The tropical Meroe EP takes you on a journey through hip hop, dub, funk and house - a choice selecton of cuts presented on a limited 7' vinyl (500 copies), with original artwork designed by the man himself!
Side A opens with 'Cerasee Doctor,' a classic Mo Kolours producton. Hip Hop meets Dub Reggae, with a catchy vocal loop throughout, equipped with a healthy dollop of dub sirens - this one is sure to grace many a soundsystem worldwide! 'Margoze' follows and takes the listener on a journey to West Africa
where cowbells and syncopated rhythms take lead whilst the distant sound of local dialogue blends seamlessly in and out of the mix, rootng it deep in its African foundaton.
Side B begins with 'Goya,' which brings about a fusion of traditonal Vietnamese folk mixed with snippets of slap bass to create a collage of worldly sounds - a technique synonymous with the acclaimed producer. The EP fnishes with the ttle track 'Meroe,' where Mo Kolours once again efortlessly fuses ancient and modern sounds to create a dancefoor winner.

Released in 1974, Téo Azevedo's first album Grito Selvagem ( Wild Shout') is an irresistible blend of soul and rock with an unmistakable Brazilian character. As many other lost gems of time past, the album found little commercial success, and still during the 70s Téo turned forever to the true Brazilian popular music - the forró, the roots of sertanejo and the rhythms and traditions of Brazil's often forgotten countryside - becoming, from then on, a genuine cultural reference in Brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the Grammy Latino prize in 2013.

This career turn also contributed to push Grito Selvagem' onto the dusty and forgetful shelves of time, until its rediscovery in recent years by DJs and record collectors. With lyrics reminiscent of the life in the city and the countryside, the album is one of Brazil's forgotten treasures, with arrangements and production by Téo in partnership with maestro Daniel Salinas - producer / arranger very active in the Jovem Guarda movement, and known to collectors for his 1973 album Atlantis-, ten tracks which deliver the unmistakable groove you'll only find in Brazilian records from the 70s. If you like Luiz Gonzaga, Tim Maia, Jackson do Pandeiro or Gilberto Gil, get ready to hear Téo Azevedo and his Grito Selvagem!

Comes with full-size Poster / info insert in English and Portuguese revealing the full, undisclosed story of the album. Includes free Digital Download Card.

(180gr vinyl) For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions). The multi-instrumentalist Miles Davis called 'the most impressive musician in the world'.
There have been few musicians to ever reach the stature of Hermeto Pascoal. A true maestro and a cultural icon, he represents the highest level of musical evolution; as a multi-instrumentalist, as a composer and as an arranger. Once described by Miles Davis as 'the most impressive musician in the world', there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" (the Wizard). For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions).Recorded in just two days in 1976, at Rogério Duprat's Vice Versa Studios, São Paulo, the sessions featured Hermeto's go-to 'Paulista' rhythm section of the day: Zé Eduardo Nazario (drums), Zeca Assumpção (bass) and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas and Nivaldo Ornelas, guitarist Toninho Horta and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realised. The performance lasted hours on end, without any breaks in playing, and Hermeto saw the potential for his compositions to reach a 'higher level' as the music organically moved from structured compositions to 'freer' improvisational works.In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material, from machine to machine. As far as we know, the master tape eventually got lost over time, but Lelo kept his copy in his studio's archives, where it stayed for over forty years.
With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who under Hermeto's revolutionary vision, created a unique musical language which would have a profound influence on countless artists to come.Nowadays, the 1970s is indeed considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts throughout the decade. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was in a typically productive phase of his career. The year before the release of his seminal album Slaves Mass, '76 saw Hermeto amass performance credits on Flora Purim's 'Open Your Eyes You Can Fly', OPA's 'Goldenwings' and Cal Tjader's 'Amazonas' to name just a few.

The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians, whilst illuminating a truly magical, yet hitherto lost and forgotten, moment of Brazilian musical history.

We're proud to introduce the new Superfly reissue of the rarest LP at cult Strata East label! Reissued for the first time, John Gordon's 'Erotica Suite' is one of the holy grail for deep and spiritual jazz fans, check the superb 'Neleh'! As usual, beautiful quality repress with paste on covers made in Japan, Obi and 180grs vinyl, limited to 1000 copies only!

Two volumes that go through the ESP Disk story, compiled by Flavia Stollman, wife of the label founder Bernard Stollman. The label motto was "where the artist alone will decide what you will hear", now the ESP Disk story is a must have for all the free-jazz freaks, and also a good way to approach the label catalogue for all those who never heard such sounds in their lives.

* 180 gram audiophile vinyl
* Gatefold sleeve with deluxe spot varnish
* Includes download coupon
* Limited edition of 1000 numbered copies on transparent blue vinyl

In 2018 the Dutch band New Cool Collective celebrates their 25th anniversary, but before this celebration starts, there's another reason for a celebration, in cooperation with Dox Records, Music On Vinyl announces the release of the brand new and 19th New Cool Collective album Electric Monkey Sessions 2 on November 24th.

Electric Monkey Sessions 2 is the highly anticipated follow up to their critically acclaimed 2014 album Electric Monkey Sessions 1 (MOVLP1315).

The eight-piece band have, again, recorded the follow-up to EMS 1 in the Electric Monkey studios in Amsterdam. Their goal was to obtain a raw and more analogue sound. Recordings took place in the purest form, everyone gathered in the studio room at the same time, a couple of microphones, a few takes, straight to tape. The analogue spacedubs by studio owner/engineer Kasper Frenkel completed the vintage feeling.

The result Electric Monkey Sessions 2 is a multi-diverse album with a typical stubborn psychedelic cumbia vibe.

* 180 gram audiophile vinyl
* includes insert
* Limited Tour Edition of 300 numbered copies red & gold mixed vinyl
* includes download coupon feat bonus track "Frankie Conga"

New Cool Collective's fifteenth album Electric Monkey Sessions refers to the sound studio in Amsterdam where the recordings were made. They have drawn inspiration from Senegalese Orchestra Baobab, as well as psychedelic cumbia, Cape Town, Italian cinema and many major jazz heroes. Electric Monkey Sessions also features two unique tracks recorded at a beach-side studio in Dakar with local musicians the band met on one of their many international adventures.

Psychedelic Cumbia tropical Bass compilation ! MASTERPIECE §

Head producer and engineer for the Z and Turntable Training Wax, Reole brings you the 4th live studio album 'Sazerac & Haggis'.

As expected, with music and food playing a special part, the 12 track album features signature dishes, special ingredients and served up alongside highly acclaimed chef's - Geoff Gascoyne heated bass, Charles Brereton dicing keys, Ben Trickey slicing guitars, a herb rack of brass sections, Ritchie Ruftone on the cuts and a whole larder full of extra cooking talent - from the UK, US and JA.

Superbad jazz, funk, soul and reggae soulfood. Careful attention to audio hygiene and preparation has been used throughout the cooking process, from live studio recordings to Michelin Star 1087 Mastering.
This album is timeless. If you like your music and food super fresh, then this album is super dope! It covers many genres - it's a menu - it will feed your vinyl and mouth platter!

Critically acclaimed jazz reissue on the Disques Vogue label. Brown coloured vinyl. Specialist marketing.

It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way.

"Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.

Hailing from Britain, with origins in Guyana, Jamaica, and St. Vincent, critics and historians agree that the world simply wasn't ready for Cymande. Formed in 1971, the band would become renowned for their progressive, and complex brand of funk music, which fused elements of calypso, jazz, R&B, African music, and British glam rock. Despite touring with Al Green, performing at venues like The Apollo and Soul Train, and having a Billboard R&B hit, Cymande languished in obscurity before disbanding in 1974, only to develop a widespread cult following over the years, and become a treasure trove for crate diggers and beatsmiths. Though their debut album was not a monster hit for Cymande, it allowed them enough fortunes to re-locate to the US, where they further developed their distinct blend of world-influenced funk, and took in the political climate. Their stay in America led to their 2nd album, 1973's Second Time Round, which cultivated afro-inspired arrangements, as well as fusions of reggae and jazz, and a touch of social commentary thrown in. While Second Time Round didn't reach even the minor level of success of Cymande's debut, it did render a dancehall monster in the track "Fug", and numerous other underrated soulful classics. A definite must for any deep funk historian worth their salt.

Critically acclaimed jazz reissue on the Disques Vogue label. Beige & yellow vinyl with black splatters. Specialist marketing.

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

World Seven is a record label brought to you by the Paris & London based Africa Seven crew . We have joined forces with a collective of label heads, music freaks & crusty crate diggers to expand our musical quest - to search the world for sounds, vibes & scenes which cross musical genres and geographical borders. It's all about the music brothers and sisters.

Michel Sardaby was born in Fort de France, Martinique in the French West Indies in 1935. As a child he was surrounded by music in his dad's brasserie. He became a child prodigy on the piano and went on to study art at the Boulle School in Paris before deciding to concentrate on a career as a jazz pianist. Throughout the 60's, he played piano with blues musicians like Sonny Boy Williamson and T-Bone Walker, at the same time beginning to release more jazz-focused solo albums.

The record was recorded in New York in 1975 and the personnel on record is formidable. Billy Hart (McCoy Tyner alumni) is on drums, Richard Davis on bass and Leopold Flemming on Percussion. Michel himself is on keys and delivers a Rhodes master class.

The album itself has been remastered specially for vinyl and pressed (at the request of Michel himself) on heavy weight vinyl.

"It's been in February 2017, the full moon was shining brightly and a soft breeze provided a nice contrast to the days heat, when me and Ahmed Ag Kaedy spent our time sitting on a rooftop terrace located in the Tuareg-district of Bamako. We we're talking about the intentions of North Malis Tuareg to gain independence, Ahmed served sweet tea only to play me some of his new songs later throughout the night. Hours passed and we came up with an idea - relocate Ahmed to Berlin to fuse his distinct Desert Beat with influences from the cities Jazz and World Music scene. Two phone calls were enough to get the ball rolling, even though we knew that a few shows set up short term would only be able to cover his travel expenses.

Without many people noticing, oftentimes its the bass players who're responsible for not only a projects groove but also the beat and its rhythm. For example we saw Kalle Enkelmann, the man on bass for Onom Agemo & The Disco Jumpers, founding the band Orion Congregation on the fly, a musical outfit both incorporating artists active in Onom Agemo as well as the brass section of the Omniversal Earkestra. They set up a highly acclaimed series of shows at Berlin Friedrichshain BLO venue featuring several guest musicians in which seemingly endless Desert Beat phrases were garnished with furious sax impro sessions or 70s space synths by Johannes Schleiermachen as spine-tingling Hammond action by Embryo's Michael Wehmeyer.

Throughout these days Onom Agemo were busy recording their latest studio album and invited Ahmed to record with them, an invitation resulting in two tracks heavily inspired by their aforementioned live sessions. The outcome is quite a journey, merging classic Tuareg rhythms with the Disco Jumper's distinct interpretation of Afro-Berlin-Jazz. Using his Stratocaster we experience Ahmed Ag Kaedi in constant search for new rhythm signatures whilst providing a thrilling guttural vocal contrast to traditional Tuareg choir passages.

Ahmed's native home is located deep within Sahara desert, way beyond the Tuareg town of Kidal. His songwriting process takes place under the nightly stars, sitting by the campfire or throughout the day when he's on the lookout for goats, camel-back riding whilst covering his face from the merciless sun and the ever present sand of the region. Always with him is his 12V amplifier, usually fastened to his saddle, his guitar on his knees, rolling along with the rhythm of his mount. So it's no surprise that he defines his personal beat as a beat that makes camels dance.

He spent his youth as a mercenary fighting for the Ghaddafi army, believing in the, never fulfillied, promises made about an independent Tuareg nation of Azawad. After realizing that he's only used as a figure in a game of chess, played by forces beyond his own imagination, he decided to replace his AK47 with a guitar. His lyrics deal with topics present in today's Tuareg society, which is looking and fighting for an identity of its own whilst being trapped between globalization and islamic fundamentalism, a set of topics and themes that's now transferred, translated to and becoming relevant for first world listeners through his collaboration with Onom Agemo.

Text by Markus Schmidt

- First-ever audiophile-quality 180gam vinyl reissue

- Lacquers cut by Kevin Gray, Cohearent Audio

- Old-school style tip-on jacket

- Includes Jazz Dispensary Authorized Dealer' window cling


This is the first-ever audiophile quality vinyl reissue of Pucho and the Latin Soul Brothers' incendiary boogaloo getdown. One of the greatest albums by this funky Latin combo! The record differs from some of their earlier Prestige albums in that the tracks are longer, more instrumental, and have a hard fuzzy electric groove.

The band jams hard in a way that's more like some of the funk combos of the early '70s, than the Latin groups from which they came — the results are wonderful! Includes two funky numbers written by Sonny Phillips — "The Spokerman" and "Jamilah" — plus a great extended cover of "Cloud Nine." Great horn work from the funky Pazant Brothers, plus Seldon Powell, who also plays flute and tenor on the album — and other jazz funk stars on the album include Bernard Purdie, Billy Butler, and Neal Creque, Pucho's right hand man!

Critically acclaimed jazz reissue on the Disques Vogue label. Light brown vinyl. Specialist marketing.

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

Critically acclaimed jazz reissue on the Disques Vogue label. Yellow vinyl with orange splatters. Specialist marketing.

Does this need an explanation My two favourite DJ sides from Stark reality catalog, for Say Brother I fixed the eq and made it a bit more club friendly also editing the crazy tripped out ending out which maybe controversial but always freaked the dance floor out so I cut that out to gain some extra volume and bass. On the flip we got Bustin' Out of Doors which has always been a favourite warm-up record again without the random ending. To make it extra cute I used the o.g Hoagy Carmichael's Music shop illustration.. 500 only, no repress.

Way back in the early 1980's a group of young musicians mostly in their 20's played around the LA jazz scene in a loosely organized jazz/fusion ensemble under the leadership of woodwind instrumentalist/composer-arranger Dennis Dreith. Those musicians, virtually unknown to all except their peers went on to illustrious touring and recording careers working with the biggest names in the music business and added their talents to scores of top charting recordings. Dennis himself grew into a leading film music composer and influential speaker on music industry matters. Dreith served as International President of the Recording Musicians' Association (RMA), in excess of 15 years, and served as a consultant and member of the American Federation of Musicians (AFM) Negotiating Committee. He is currently the Executive Director of the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, overseeing numerous domestic and foreign rights agreements. The band's roster reads like a who's who of contemporary musicians these days. You may have heard of the Wrecking Crew,' or seen 20 Feet From Stardom.' Now you can hear the current generation of musicians who are the unsung heroes of todays' hit records, films and television shows. The Dreith Band features a collection of world class musicians who may not be well known to the public, but are legends in music industry having recorded with Frank Sinatra, The Beatles, Lady Gaga, The Beach Boys, Barbara Streisand, Steely Dan, Elvis Presley, Phil Collins, Miles Davis, Michael Jackson, The Rolling Stones and countless others. Sounding like a full jazz orchestra, The Dennis Dreith Band sonance serves as a blueprint for new acts like Snarky Puppy, Lettuce, Vulfpeck and similarly jazz influenced young groups. Everland Jazz has now carefully prepared the first ever vinyl release of the Reunion LP, a seminal and timeless jazz masterpiece.

The Diabolical Liberties return with a new 5-track EP titled All Out For Love' touching on poetry, dissonance, dub, dance and Jazz wave. Nyasha (aka Nubya Garcia) guests on flute and sax and General Rubbish contributes additional words. Strictly limited edition 12' in a hand-stamped and hand-numbered sleeve. The preceding drops - Dancefloors Of England' and Omar's Deliverance' both sold out so don't sleep!!

LP Kraft Sleeve, Liner Notes Poster Inlay, Sticker Jun Fukamachi's 1986 never-officially-released highly sought after rarity NICOLE LP available for the first time ever on vinyl and CD, and made in cooperation with the artist's estate. All new liner notes by Masaharu Yoshioka aka The Soul Searcher.

WRWTFWW Records is proud to announce the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand and never officially available before. Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection, Fukamachi's moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike...and rightly so! Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher: If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen. Nicole is available in two versions: a vinyl LP cut at Emil Berliner Studios, housed in a kraft sleeve similar to the original promo-only release, and a kraft digipak CD version. Both versions were made in cooperation of the artists's estate and come with new liner notes by Masaharu Yoshioka.

2018 REPRESS! Popular and increasingly in demand, IZIPHO ZAM (my gifts) falls into the 'rare' category among record collectors and is a gift to fans of master Pharoah Sanders. This demand is partially galvanized by the fact that 'Prince Of Peace' has become an inspirational mine to Hip Hop artists and is much loved by samplers. Izipho Zam is Pharoah Sander's 3rd album, initially recorded in january 1969, it was originally released on the Strata-East label in 1973. On Izipho Zam Sanders and his band take you on a journey into another world providing an amazing experience! Passionate, intense and free, Sanders saxophone especially, is exquisite, pouring out its soul telling a story of its own. Hailed by peers as the best tenor saxophonist in the world, Pharoah Sanders is a legend in Jazz music. He is regarded as one of the pioneers of free jazz and is the mentor of jazz giant, saxophonist Robert Stewart. Born in 1940 into a musical family as Farell Sanders in Arkansas, he first played the clarinet before switching to tenor saxophone in High school. After High school he moved to California to study music and art. In 1961 Sanders moved to New York where he often played gigs with a number of free jazz dignitaries including Billy Higgins, Sun Ra and Don Cherry. His name 'Pharoah' was given to him by Sun Ra, who was his bandleader then. It was during one of these gigs that he met John Coltrane who became his mentor. While playing with Coltrane, Sanders inevitably rose to prominence due to his very distinctive tenor saxophone sound.

- Rachel Kinoti

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES INSERT
- FEATURING THE RHYTHM & BLUES
SONGS 'YES I'M READY', ' I CAN'T GET NEXT TO YOU' AND MOR

Dee Dee Bridgewater, real name Denise Eileen Garret born in Memphis, Tennessee, is an American jazz, rhythm & blues singer and has been recording more than 20 high class soul and r&b albums since 1974. She worked with many of the leading jazz musicians, like Chick Corea, Lenny White, Stanley Clarke and is a three-time Grammy Award-winning-singer-songwriter.

Memphis,...Yes I'm Ready is, in her own words, the going-home project' where she sings the classic r&b songs and honors her Memphis' born soul. The opening title-track Yes I'm Ready' was written by Barbara Mason and covered by numerous artists, Giving Up' was written by legendary soul artist Van McCoy, the hit-single I Can't Stand The Rain' was co-written by, and a smash-hit for Ann Peebles. Additionally there are more familiar songs, Don't Be Cruel' written by Otis Blackwell, Elvis Presley's Hound Dog', B. B King's The Thrill Is Gone' and all of the remaining tracks are fine examples of vintage Soulsville' standards.

This brand-new album was produced at Royal Studios, the Memphis studio where producer Willie Mitchell cut a string of hits with Al Green, Rod Stewart, Keith Richards, Boz Scaggs and even Mark Ronson's (featuring Bruno Mars) Uptown Funk' was recorded at the same facility. Willie's son Lawrence co-produced the sessions along with Dee Dee and her daughter Tulani Bridgewater.

formed in 1969, this 4-piece UK outfit went on to record one ultra collectable album in 1971 for president records. originally the album was going to be titled "guerilla jazz rock" but came to be renamed "tracking with close-ups." The band toured extensively supporting the likes of Deep Purple, Stray, Nucleus, Graham Bond, Black Cat Bones and Third Ear Band. Over the years the album has built a cult reputation with collectors. the album is certainly different to many released at that time and has a unique heavy dark psychedelic aspect running through the album, almost borders on proto-metal on several tracks, as well as some darker progressive elements and beefheart and zappa moments, making it such a unique and classic album of the time. the real deal early 70's UK underground!

"Tracking with Close-ups" is impossible to find nowadays, and now, for the first time, here is the first official reissue of this superb album taken from the original master analogue tapes with printed insert containing archive band photos many previously unseen from the bands' own archives.

Turkish free jazzers KONSTRUKT and the Japanese avant-garde / noise icon KEIJI HAINO present their first collaborational album.
Formed early 2008 in Istanbul, KONSTRUKT have since been gaining high reputation and an ever-growing audience within European improvised music circles. Over the past decade, the Turkish free jazzers not only released a couple of superb albums under their own name - they also regularly invite significant musicians like PETER BRÖTZMANN, JOE MCPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE, MICHAEL ZERANG, ALFRED HARTH or ALEXANDER HAWKINS for recording sessions and/or concerts (a.o. at festivals like A L'ARME, .KONFRONTATIONEN NICKELS-DORF, KRAKOW JAZZ AUTUMN). Their latest work "A Philosophy Warping ..." sees KON-STRUKT team up with the Japanese avant-garde / noise icon KEIJI HAINO - and besides all the elements you may well expect from such a musical meeting like KONSTRUKT's "acerbic razor-edged sound" (MARK CORROTO, ALLABOUTJAZZ) and HAINO's unmistakable voice / guitar explosions, there's also some real surprises ...

Recorded and mixed by Ozan Öner at Pür Recording Studio, Istanbul..
Mastered by Rashad Becker at D&M, Berlin.
Cover painting "Escape" by Artur Trojanowski.

Saxophonist Winston 'Mankunku' Ngozi's 1968 masterpiece Yakhal'inkomo stands in the front rank of global jazz recordings. A certified jazz classic in South Africa, it has sold hundreds of thousands of copies and has never been out of print. But like so many other crucial South African jazz LPs, it was never released outside the country, and went unheard at the time by the wider world. This reissue is the first time that this truly essential jazz recording has been properly available outside South Africa.
Mankunku's masterwork is one of those rare recordings whose audience saw at once that it embodied the spirit of the age. The title, 'Yakhal'inkomo', refers to the bellow made by a bull just before it is sacrificed, and the mourning cries of its fellow cattle as they see it struck down. For South African listeners, the reference was understood as a cry against the violence and brutality of the times, and an act of mourning for all those who were suffering under the barbarity of apartheid. Mankunku's horn spoke eloquently and profoundly for and to an oppressed people, and like Coltrane's A Love Supreme, the album became the musical touchstone for a generation. From today's historical vantage point, Yakhal'inkomo appears as not just an indispensable lost element of the international jazz canon, but as one of the towering cultural documents of its time.
Fully licensed, and packaged with a new sleeve note by Francis Gooding and prevoiusly unpublished photographs from the Basil Breakey archive, this trail-blazing release on Jazzman allows Mankunku's classic work to gain its deserved place on the international stage.

Sax man Timo Lassy & drummer Teppo Mäkynen debut their scorching duo formation. These tracks were recorded raw at their rehearsal space at Helsinki's Kaapelitehdas and cut to wax right next door at the Timmion Cutting Lab. What you'll have here is two solid slices of infectious, hard-swinging bare bones duo jazz.

Lassy and Mäkynen are both known as solo artists as well as from groups such as The Five Corners Quintet. Mäkynen also plays drums on the Timo Lassy Band, which celebrates its 10th anniversary this year. Mäkynen recently released a new major solo work as 3TM.

- First ever 180-gram vinyl reissue

- Lacquers cut by Kevin Gray at Cohearent Audio

- Vinyl housed in an old-school style heavyweight jacket

- Includes Jazz Dispensary Authorized Dealer' window cling

Long out of print, this is an absolute masterwork from Azar Lawrence (ts). Expansive, forward-leaning, richly textured, and powerfully knotty, this spiritual-tinged outing features heavyweights Julian Priester (tb), Woody Shaw (t), Ray Straughter and Hadley Caliman (f), Arthur Blythe (as), Joe Bonner (p), Clint Houston and John Heard (b), Billy Hart (d), Leon Ndugu' Chancler, Mtume, Guillerme Franco, and Kenneth Nash (perc), Woody Murray (v), and the inimitable Jean Carn (voc). Essential.

repressed !

Aketi Ray are an all-acoustic dub-jazz group, playing original compositions grounded in the instrumental music of post-independence Jamaica -ska, rocksteady, reggae, rockers, dub -but drawing inspiration and influence from Ethiopian and US jazz, west African percussion traditions, all with the mind set of UK steppas. An outernational sound: Kingston to Chicago to Addis Ababa to Dakar to London.The sound of "From Ever Since" draws on the vibes and heritage of pre-electr(on)ic music, but gives that traditional sound new power through the use of dub techniques of reverb, delay and EQ manipulation.The Aketi Ray sound Band leader 'Mikus' Gorecki explains: At the time I was listening to a lot of tuff digital dub tunes, and much as I love that sound still, I thought there was a lack of dubwise music getting made that had that live feel of the 60s and 70s. At the same time I didn't want to just rehash the past - the best you can do is come close to replicating that sound, you definitely won't beat it. So I decided to try something different, and bring in other connected jazz and African influences to the mix. 'Sometimes when people fuse different music traditions it can sound a bit of a collage, the elements are all there but they don't actually fuse together. I think we have our own sound, and it's greater than the sum of its parts.The compositions are forward-looking, form-pushing, and although there are no vocals, they are message-driven, concerned with conditions of modern life, spirituality and politics. Mikus says The music definitely has a message. Each track has a very clear subject in mind when writing it, but it's down to the listener to tune in to that and take from that what they will. I find you can say more with the abstract language of music than you can in words.'