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Second album, originally released in 1968. More cover versions, plus two John Sangster originals. Much more eclectic selection of covers on this outing, Herbie Hancock, The Beatles, Little Anthony & The Imperials mixed in with tunes originating from France, Cuba, Zimbabwe all getting a start. Players on this album are John Sangster, George Thompson, Ed Gaston, Don Burrows, Graeme Lyall and George Golla. Produced by Pat Aulton.

Third album, originally released in 1969. His final album for Festival Records. An interpretation of the music featured in the musical, Hair along with three original electronic pieces. Undoubtably inspired by working with Tully on the Australian version of Hair. Players on this album are John Sangster, Bob McIvor, Ken Herron, Lennie Hutchinson, Derek Fairbrass, Col Nolan and Ben Turpin. Produced by Pat Aulton.

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

The Italian funk god Luis Enriquez Bacalov is celebrated here with this unmissable 7-inch record, featuring two of his grooviest tracks ever: on the A-side, the legendary CARREFOUR is maybe his funkiest soundtrack piece, here released for the first time in its entirety, with an unexpected introduction via a powerful horn section, which was cut from the original 1976 RCA 7''. Behold an eternal jazz-funk masterpiece with solid drum breaks and hip hop heavy beats, funky congas, wah wah guitar, psychedelic organ. This track was used for the 1976 movie Colpita da improvviso benessere', directed by Franco Giraldi, but was originally conceived for the 1974 movie Sistemo l'America e torno' by Nanni Loy. For the B-side, we have chosen from this same score another killer groovy track which was already compiled on our ESTERNO NOTTE Vol. 1 compilation.

SISTEMO L'AMERICA E TORNO - SEQ. 7 has a tremendous rhythm section, a wonderful guitar riff, psychedelic flute, and

stunning Hammond organ solos. This is another future classic from the golden age of Italian soundtracks, and an absolute must-have for any and all jazz-funk DJs worldwide!

One of the rarest and most sought-after Italian holy grail soundtracks ever is finally back from the grave! Originally released in

1966 on Beat Records (45-BT 024), the KRIMINAL main theme was written by Romano Mussolini (Raymond Full in the

opening credits) and Roberto Pregadio for this sleazy crime-pop movie directed by Umberto Lenzi, and based on the cult Italian

comic hero. Actually, this could be considered one of the best swinging jazz-beat themes from the 60s, with its wonderful horn, acid vox continental organ, and terrific rhythmic guitar. On the B-side, we have another jewel from 1960s Italian spy-pop cinema: the main theme of Il cobra' (from the Mario Sequi's movie). This swinging and uptempo jazz-beat piece, written and conducted by the Spanish composer Antón García Abril, is a poisonous shake with a supergroovy mood - a doublesided

floor-filler, not to be missed by any serious soul-jazz DJ.

Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, 'sound based' music.

The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns.

The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams' crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities.

Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.

A sensational mix of West African afrobeat tradition and contemporary European urban culture, reminding us of Ebo Taylor, for the traditional element, and Hugh Masekela for its mix with jazz. Daniel Dzidzonu takes it further down the jazz road and introduces even rock and fusion. As a result this record is one of the key albums of the new afrobeat generation, or in the case of Daniel, the Afro-European generation of today.

More than 10 years already, Hijaz, an instrumental Arabic jazz combo, is searching for the perfect symbiosis between Mediterranean warmth, polyrhythmic structures and musical virtuosity. In a tight formation of four core musicians, Hijaz captured the magic of the moment during two live sessions in Brussels and Antwerp. The result of those recordings is an album celebrating the 10 years of existence of the band. The album consists of new and old material and will be released on the 31st of March 2017, exclusively on vinyl.


After Dunes (2008), Chemsi (2011) and Nahadin (2014), Hijaz developed a very personal musical language where Arabic scales refer to the Tunisian roots of oud player Moufadhel Adhoum, and where the assymetric grooves find their roots in the Greek origin of piano player Niko Deman. It is the dialogue between piano and oud that lays the foundations of the music, supported by percussion and double bass, occasionally enriched with flute.

Belgian composer, arranger, pianist and keyboardist Koen De Bruyne (1946-1977), brother of celebrated singer and songwriter Kris De Bruyne, had his own — unfortunately short — stint in the field of pop, jazz, fusion and funk in the 1970ies. He rose to the scene as a wanted session and live musician for local heroes such as Johan Verminnen, Will Tura, Ferre Grignard, Mad Unity, Black Blood and his brother Kris. In 1974, after some years in the trade, Koen De Bruyne debuted as a solo artist. The inspired epic 'Here Comes The Crazy Man!' undeniably proves he was much more than a gifted 'hired gun'. He gathered a fabulous line-up for the recording sessions, featuring three members of the legendary Placebo (Marc Moulin's jazz/funk outfit). Recorded in the renowned Brussels Madeleine studios with some of the most prolific and inventive of his contemporaries, HCTCM! is a truly exceptional and imaginative record and has gained the status of sought after cult classic decades after its release. Koen De Bruyne's only real album to have seen the daylight is a rare Belgian gem, one that stands the test of time and is waiting to be rediscovered by new generations of listeners.

During our research for the reissue of HCTCM! in 2015, we were lucky enough to get in touch with Koen's brother Kris De Bruyne, one of Belgium's most influential singer songwriters. Kris dug up quite a bit of unreleased treasures from the family vaults. One of the tapes included these 4 majestic solo piano improvisations. One of the tracks has posthumously been included on Kris' album Ballerina's (the album Koen was producing when he passed away), the other three had vanished ever since. We are proud and grateful to be able to release these outstanding compositions for the first time on vinyl, remastered from the original tape. These almost impressionist improvisations shed yet another light on the brilliant and versatile composer and musician Koen De Bruyne.

Hidden treasure coming to light: restored and newly mastered album full of unreleased music from Copenhagen by the godfathers of Danish modern jazz, "Jazz Quintet 60", fluidly playing hard-bop to American standards - fresh, highly creative and cleverly arranged. Final chapter in the history of a simply remarkable and legendary band recorded 1962-1963, featuring Allan Botschinsky, Niels Husum, Bent Axen, Niels-Henning Ørsted Pedersen and Bjarne Rostvold. Transferred from reel-to-reel tapes found in the collection of Niels Husum, with original photos provided by Allan Botschinsky. Comes as limited vinyl LP and 6-page digipack-CD/ digital album with four additional tracks.

The release of this album represents nothing less than a hidden treasure coming to light. In early 2016, and much to our surprise, some old reel-to-reel tapes were handed to us by Peder Hansen of Little Beat Records, Denmark. He knew how much we were into this music and hearing and transferring the tapes for the first time in June 2016 in Berlin was deeply impressing. Equally, having the opportunity to see some original photographs from that period, kindly provided by Allan Botschinsky and Inge-Lise Husum, proved an additional thrill. Now, after decades in the vaults, we are pleased to present a restored and newly mastered album full of unreleased music by the godfathers of Danish modern jazz - "Jazz Quintet 60" (or "Jazzkvintet 60", as it was known in Danish) - the final chapter in the history of a simply remarkable, legendary band.

Jazz Quintet 60 was founded in 1957 as a small section of the Danish "Ib Glindemann Orchestra". Led by trumpeter Allan Botschinsky and initially performing under the name "Jazz Quintet 58", they made their first recordings for an EP released in January 1958. The group was later renamed "Jazz Quintet 60" for later releases and concert performances. In a short timespan, they managed to develop into a perfect band, fluidly playing hard-bop to American standards. Their music as well as their own compositions were fresh and highly creative, cleverly arranged and, most of all, well played.

They usually performed in the heart of Copenhagen, at the clubs "Montmartre" and "Vingaarden", that would eventually become meeting points for the development of modern jazz in Denmark. During the pre-Beatles era, new styles like cool jazz and hard-bop were flourishing. While more and more American musicians settled in Copenhagen, nearly all of the quintet members also played in the "Danish Radio Jazz Group", established in 1961 by the Danish Broadcasting Corporation (DR) and led by the first bassist of "Jazz Quintet 60", Erik Moseholm. The radio group was regularly joined by well known international soloists like Dexter Gordon in a series of concerts. Stan Getz, Oscar Pettiford, Gordon and also Sahib Shihab had all moved to Copenhagen because of this new climate for jazz that was thriving at the time.

On the other hand, only a small number of Danish jazz records were released during the early 1960s. At the time of the unknown recordings presented here, the late "Jazz Quintet 60" featured Bent Axen on piano, Allan Botschinsky on trumpet, Niels Husum on tenor saxophone, Niels-Henning Ørsted Pedersen on bass and Bjarne Rostvold on drums. As Erik Wiedemann points out in his sleeve notes for the first modern jazz release from his home country on the Danish "Debut" label, "Bent Axen has achieved the seemingly impossible by keeping a jazz group with two horns - the 'Jazz Quintet 60' - working on a permanent basis without making even the slightest commercial concessions".

Allan Botschinsky was leading soloist in the band. He had studied music in the US and had played together with big American names in Copenhagen, e.g. Stan Getz, Dexter Gordon and Brew Moore. Pianist Bent Axen intended to become a veterinary surgeon, but ended up finding a career in jazz instead. As early as 1951, he had occupied the piano chair in the leading Danish jazz orchestra of Jonny Campbell. Later he recorded with Eric Dolphy. According to Down Beat magazine, jazz master Ray Brown described the young Niels-Henning Ørsted Pedersen as one of the most important bass talents he had ever heard.

"NHØP", as he was later called, would in fact develop into one of the world's best jazz bassists with an impressive concert and recording career, starting as a mere 16 year old schoolboy with "Jazz Quintet 60". In the late 1950s, outstanding drummer Bjarne Rostvold was performing jazz on a daily basis as a key member of the Jørgen Grauengaard-Ensemble. He also played and recorded with his own trio, usually featuring Botschinsky and NHØP. Tenorist Niels Husum was featured on all regular releases of the quintet and later appeared on fantastic Danish recordings with Sahib Shihab and Palle Mikkelborg.

Four impossible to find vinyl EPs by the quintet had been released on several small labels in Denmark only. Their first LP, solely entitled "Jazz Quintet 60", was recorded in July 1962 in Copenhagen and was released on the Danish Metronome label in the same year - a true holy grail of hard-bop in Europe. The group collaboration was short-lived, however, by 1963 and after a mere four years of playing together, "Jazz Quintet 60" disbanded. Shortly before going their separate ways, they recorded a couple of radio farewell programs.

In August 1963 and after a Swedish tour with female singer Gitte Hænning, the quintet came together for its last studio recordings, released on a second and final album, entitled "Presenting Jazz Quintet 60" (Fontana). Needless to say, original copies of both LPs exchange hands for a small fortune today, while even Japanese reissue albums have become scarce. Against this background, we now hope you will enjoy this band's additional "lost album" as much as we enjoyed putting it together. Lastly, thanks to everybody who supported this unexpected release, and most of all to Little Beat Records for providing the impetus behind it all.

Ekkehart Fleischhammer, December 2016

Hidden treasure coming to light: restored and newly mastered album full of unreleased music from Copenhagen by the godfathers of Danish modern jazz, "Jazz Quintet 60", fluidly playing hard-bop to American standards - fresh, highly creative and cleverly arranged. Final chapter in the history of a simply remarkable and legendary band recorded 1962-1963, featuring Allan Botschinsky, Niels Husum, Bent Axen, Niels-Henning Ørsted Pedersen and Bjarne Rostvold. Transferred from reel-to-reel tapes found in the collection of Niels Husum, with original photos provided by Allan Botschinsky. Comes as limited vinyl LP and 6-page digipack-CD/ digital album with four additional tracks.

The release of this album represents nothing less than a hidden treasure coming to light. In early 2016, and much to our surprise, some old reel-to-reel tapes were handed to us by Peder Hansen of Little Beat Records, Denmark. He knew how much we were into this music and hearing and transferring the tapes for the first time in June 2016 in Berlin was deeply impressing. Equally, having the opportunity to see some original photographs from that period, kindly provided by Allan Botschinsky and Inge-Lise Husum, proved an additional thrill. Now, after decades in the vaults, we are pleased to present a restored and newly mastered album full of unreleased music by the godfathers of Danish modern jazz - "Jazz Quintet 60" (or "Jazzkvintet 60", as it was known in Danish) - the final chapter in the history of a simply remarkable, legendary band.

Jazz Quintet 60 was founded in 1957 as a small section of the Danish "Ib Glindemann Orchestra". Led by trumpeter Allan Botschinsky and initially performing under the name "Jazz Quintet 58", they made their first recordings for an EP released in January 1958. The group was later renamed "Jazz Quintet 60" for later releases and concert performances. In a short timespan, they managed to develop into a perfect band, fluidly playing hard-bop to American standards. Their music as well as their own compositions were fresh and highly creative, cleverly arranged and, most of all, well played.

They usually performed in the heart of Copenhagen, at the clubs "Montmartre" and "Vingaarden", that would eventually become meeting points for the development of modern jazz in Denmark. During the pre-Beatles era, new styles like cool jazz and hard-bop were flourishing. While more and more American musicians settled in Copenhagen, nearly all of the quintet members also played in the "Danish Radio Jazz Group", established in 1961 by the Danish Broadcasting Corporation (DR) and led by the first bassist of "Jazz Quintet 60", Erik Moseholm. The radio group was regularly joined by well known international soloists like Dexter Gordon in a series of concerts. Stan Getz, Oscar Pettiford, Gordon and also Sahib Shihab had all moved to Copenhagen because of this new climate for jazz that was thriving at the time.

On the other hand, only a small number of Danish jazz records were released during the early 1960s. At the time of the unknown recordings presented here, the late "Jazz Quintet 60" featured Bent Axen on piano, Allan Botschinsky on trumpet, Niels Husum on tenor saxophone, Niels-Henning Ørsted Pedersen on bass and Bjarne Rostvold on drums. As Erik Wiedemann points out in his sleeve notes for the first modern jazz release from his home country on the Danish "Debut" label, "Bent Axen has achieved the seemingly impossible by keeping a jazz group with two horns - the 'Jazz Quintet 60' - working on a permanent basis without making even the slightest commercial concessions".

Allan Botschinsky was leading soloist in the band. He had studied music in the US and had played together with big American names in Copenhagen, e.g. Stan Getz, Dexter Gordon and Brew Moore. Pianist Bent Axen intended to become a veterinary surgeon, but ended up finding a career in jazz instead. As early as 1951, he had occupied the piano chair in the leading Danish jazz orchestra of Jonny Campbell. Later he recorded with Eric Dolphy. According to Down Beat magazine, jazz master Ray Brown described the young Niels-Henning Ørsted Pedersen as one of the most important bass talents he had ever heard.

"NHØP", as he was later called, would in fact develop into one of the world's best jazz bassists with an impressive concert and recording career, starting as a mere 16 year old schoolboy with "Jazz Quintet 60". In the late 1950s, outstanding drummer Bjarne Rostvold was performing jazz on a daily basis as a key member of the Jørgen Grauengaard-Ensemble. He also played and recorded with his own trio, usually featuring Botschinsky and NHØP. Tenorist Niels Husum was featured on all regular releases of the quintet and later appeared on fantastic Danish recordings with Sahib Shihab and Palle Mikkelborg.

Four impossible to find vinyl EPs by the quintet had been released on several small labels in Denmark only. Their first LP, solely entitled "Jazz Quintet 60", was recorded in July 1962 in Copenhagen and was released on the Danish Metronome label in the same year - a true holy grail of hard-bop in Europe. The group collaboration was short-lived, however, by 1963 and after a mere four years of playing together, "Jazz Quintet 60" disbanded. Shortly before going their separate ways, they recorded a couple of radio farewell programs.

In August 1963 and after a Swedish tour with female singer Gitte Hænning, the quintet came together for its last studio recordings, released on a second and final album, entitled "Presenting Jazz Quintet 60" (Fontana). Needless to say, original copies of both LPs exchange hands for a small fortune today, while even Japanese reissue albums have become scarce. Against this background, we now hope you will enjoy this band's additional "lost album" as much as we enjoyed putting it together. Lastly, thanks to everybody who supported this unexpected release, and most of all to Little Beat Records for providing the impetus behind it all.

Ekkehart Fleischhammer, December 2016

The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.

"I could listen to the album everyday for the rest of my life" - Madlib.

For a very long time, we have been trying to re-issue this record, a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.

Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, this album gave him the chance to do his thing in it's
most pure form.

The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomises the sound of Brazil at the time, strings, guitars, pianos, break beats, basslines, synthesizers, vocals from the wonderful Célia and percussion from Pedro Santos. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it, MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat, Dibiase and Action Bronson amongst others.

The original Continental versions of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur's supervision.

Hu Vibrational's new album mixes deep percussive African rhythms and Afro - Jazz with elements of hip-hop and electronica. Recorded and mixed at Bill Laswell's state of the art studio, this is the fourth album by Hu: Vibrational and for those who bought the previous 3 releases this will not disappoint! Produced and mixed by Adam Rudolph together with longtime Laswell engineer James Dellatacoma, the album features 7 world percussionists along several special guests including Bill Laswell hitting the deep pockets on bass plus Norwegian guitar whiz Eivind Aarset creating ethereal electronic palettes.



Joining Rudolph in the groove department are the percussionists from his Go: Organic Orchestra project: Brahim Fribgane, James Hurt, Matt Kilmer, Tim Kieper, Keita Ogawa and Tripp Dudley. Each of these great drummers has performed extensively worldwide, here they perform Rudolph's rhythm compositions on a wide variety of world percussion. The tracks were then electronically processed and transformed in the mixes into a true ancient to future expression, a dance music style Hu calls Boonghee Music'. With 2 acclaimed releases on Soul Jazz Records (Beautiful and Universal Mother) and Scott Heren's (Prefuse 73) Eastern developments label, Hu Vibrational's deep spiritual music draws on the links between Africa, Jazz music and avant-garde Hip-Hop.



Adam Rudolph is known for work with Don Cherry, Pharaoh Sanders and other great jazz artists, as well as his 25 year partnership with the legendary Yusef Lateef. He currently also leads his Moving Pictures Octet and the 36 piece Go: Organic Orchestra.



Almost 10 years since the last Hu Vibrational release of Boonghee Music', Rudolph turns his creative energies back to HU by creating a deep groove masterpiece - indeed, a vision of future dance music. As Tommy Chong so aptly puts it, When you hit a groove, it's not you, it's the spirit world.'

Personnel: Adam Rudolph: bata, slit drum, rebolo, gangkogoui, udu, percussion, Brahim Frigbane: cajon, tarija, udu, percussion, James Hurt: sogo, kidi, igbo bell, udu, percussion, Matt Kilmer: frame drum, djembe, kanjira, udu, percussion, Tim Kieper: dusun'goni, pandeiro, caxixi, udu, percussion, Keita Ogawa: earthtone drum, frame drum, hadjira, pandeiro, udu, percussion, Tripp Dudley: kanjira, cajon, bayan, frame drum, udu, percussion, Eivind Aarset: electric guitars, Steve Gorn: bansuri flutes, Bill Laswell: electric bass, Alex Marcelo: Fender Rhodes.

Julian Edwin Cannonball' Adderley, live from the Half Note, New York City, on 5th February 1965.

Having earned renown with Miles Davis (including contributions to the landmark Kind Of Blue in 1959), by 1965 Julian 'Cannonball' Adderley was well established as one of America's leading jazz saxophonists and composers. Originally broadcast on WABC-FM's Portraits In Jazz', this superb set also features his brother (and long-term collaborator) Nat on cornet, future fusion supremo Joe Zawinul on piano, and the brilliant Charles Lloyd on tenor sax.
It's presented here together with background notes and images.

Conceived, as its predecessors, as the ideal musical accompaniment to a packed dance hall, "Blue Latin" reinterprets a musical genre - jazz, of course! - which even decades ago was considered the dance music 'par excellence', and delivers it, extremely modernized, to the present day, contaminated by Afro-Cuban, Brazilian and Latin-jazz elements, all made fluid, compelling and above all..., danceable! The almost-meditative "Incanto" combines spiritual jazz influences and African atmospheres.



[C} A3 | Mulata

A good concert is like a journey. When it starts you might not know what episodes await you, but in your heart you can feel which direction it will take you in. The Miramode Orchestra offers just this type of enriching, exhilarating experience. Although they meander between coordinates including jazz, electronica and groove, the seven musicians can never be tied down to a single musical location. The sound created by a four-man rhythm section and three horn players is always flavoured by a certain ambition, but never fails to let souls fly and get bodies sweating!

Their debut album Restless City' announced the band as fans of both exploration and experimentation. Why break down barriers when you can simply soar over them - after all, they only exist in the mind. It is therefore no surprise that collaborations have already included not only a range of artists more at home in genres such as hip hop, soul and modern club culture, but also a string ensemble. The latter returned to the studio for the band's forthcoming album Tumbler', which is set for release in early 2017 on Agogo Records. There is a noticeable shift towards more song-like structures: The vocals of Inèz Schäfer, Dan Freeman, Mara von Ferne and the band's keyboard player Eren Solak are taking Tumbler to another level.

At times it is difficult not to hear a touch of Bon Iver, 4hero or Cinematic Orchestra. Yet just as listeners are ready to slot a song into a pigeonhole, the Miramode Orchestra whisks them away to a new, unexpected stop on their journey.

This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's "Friends... We'll Be" on Gilles Peterson's founded label Talkin' Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was - as you can hear strongly by listening to this long player - a very prosperous, inspiring productive period for Jazzanova.

How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of Listen To The Drums' by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' "All Over The World" and Heritage Orchestra's "Skybreaks" also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' - Parallels as an modern day dance floor classic And with the reworks of tracks by Hugh Masekela ("Stimela") and Joe Bataan ("Ordinary Guy") we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for Believer' by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they're touring worldwide since 2009. To top - Jazzanova - The Remixes 2006-2016 off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's Naze'.

And as a bonus track you are treated with a not yet released remix of Dimentica Domani by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2017. Watch out.

The long-awaited follow-up to thier 2012 self-titled album is here!

Recorded in both Bogota and the Caribbean island of Old Providence, Ondatrópica are ready to announce their second record 'Baile Bucanero'.
Fuelled by bushy rum, the sessions, often including up to 35 musicians, captured the dialogues between Calypso and Gaita, Accordion and Lapsteel, Clave and Mandolin, even synthesizer and a horse's jaw bone.

Onom Agemo and The Disco Jumpers are finally back on track with their sophomore album - Liquid Love , a well psychedelic longplay effort jam-packed with captivating grooves of a bubbling, pumping, floating and defo frolicking and playful nature. - Liquid Love is also the name of the title track which can be described as a proper fancy ass, lime green glow-in-the dark cocktail served on dinghies throughout harbour boat trips to punters in full-on scuba gear. Coming from ancient days and weighing in some Malian heritage is - Kurifuna , a tune sporting quite tipsy bamboo flutes, long lost rhythm signatures and secret messages from Saturn. - Opus reflects the bands ardent enthusiasm and fascination for trance-inducing rituals performed by the Moroccan Gnawa people and is recommended to come to peace with one's innermost demons. Just pump up the jam and bop your head back and forth furiously. But hey kids, don't try this at home and without assistance as cataleptic conditions might occur.
With - The Disco Jumpers we're having a dance to the hymn of the most dedicated amongst all Onom Agemo-worshippers. And btw - if the bands name seems a little too off to get stuck in your head how about some backward reading If you're like #wtf now be assured that there's no deeper meaning intended. It just sounds fancy, outlandish and peregrine.
Also we see our time travelling guitar player contributing to this album with - Weird Panda King ,a song he might - or might not - have picked up throughout one of his trips to the 70s. And talking the 70s in general, the whole album incorporates bits and bops from the past, present and future, drawing influences from both very familiar and also faraway places. Just to name a few there's Krautrock, AfroFunk, traditional Moroccan Trance, Future Jazz and much more to be found. The Beatles excluded, though. Finally - Somebody is the icing on the cake - a quadripartite suite that was premiered at the occasion of the second Kosmos-Days event in Berlin. For this special musical piece the band was able to work with three local female pygmies which provided additional layers of most beauteous folkloristic rack- wheel chants to round off things nicely a.k.a. somebody is counting on universal help to get in touch with somebody. Well, things like that do actually happen. For sure.

West Africa's most iconic dance-band are back. A decade on from their last album and almost half a century since their formation, Senegal's Orchestra Baobab return with a timeless set of classic, swaying tunes fusing Afro-Cuban rhythms and African tradition in the group's trademark style.

Recorded locally in Moussa X's Dakar studio, the new recordings sound fresh and yet reassuringly familiar, retaining the ripeness of the sound that made Orchestra Baobab a legend but interpreted with a vigour and vibrancy, and with a few twists, that are vital and captivating.

As enduring as the mighty African Baobab tree from which the group derives its name, the veteran core of the band remains as strong and sturdy as ever. Vocalists Balla Sidibe and Rudy Gomis, saxophonists Issa Sissoko and Thierno Koite and the long-serving, rock steady rhythm section of Balla Sidibe, timbales, Charlie Ndiaye bass and Mountaga Koite on congas.

Alongside this impressive continuity there have been changes in the ten years since Baobab's last World Circuit album, 'Made in Dakar' - but they have been executed seamlessly. Guitarist Barthelemy Attisso, now a lawyer in Togo, is absent due to the demands of his day job but kora player Abdouleye Cissoko from the Cassamance region in southern Senegal is a welcome addition. It's the first time Baobab has numbered a kora player in its permanent ranks but Cissoko's rippling strings have blended seamlessly into the sound and lent a fresh dynamic. Elsewhere Baobab's distinctive two saxophone attack - which combines the vibrato laden declamatory style of Issa Cissoko with the softer more lyrical playing of Thierno Koite has been bolstered by trombonist Wilfried Zinzou and the young virtuosic guitarist Rene Sowatche, both from the fertile musical pastures of Benin.

Veteran vocalist Balla Sidibe is a commanding presence on the album with his triple threat of musical influences - Manding from Guinea/Mali, creole from Cassamance and Afro-Cuban. Two special guests memorably add their voices to the mix. Cheikh Lo dropped by the studio to add his soulful tones to 'Magno Kouto' and Thione Seck - who left Babobab in 1979 for a career as one of West Africa's biggest solo stars reunites with his old band mates for the first time in over 35 years to reprise his first hit 'Sey'.

'Tribute To Ndiouga Dieng' is dedicated to one of the bands original vocalists who sadly died in November 2016. His songs will continue to be sung with the band by his son Alpha. It represents the latest chapter in a long and storied career that started in 1970 when the newly-formed Orchestra Baobab helped forge Dakar into one of the world's most vital musical cities. Over the next decade the group dominated the local scene and produced countless hits before disbanding in the early eighties.

A huge groundswell of international interest in their original recordings - and in particular the acclaim that greeted World's Circuit's reissue of their legendary 1982 album 'Pirate's Choice' - led to the triumphant reformation of the band in 2001 and their award winning comeback album 'Specialist In All Styles'.

Since then they've toured the world to international acclaim and have now been back together as long as they were in the belle epoque of the group's first incarnation. This, their third album since their felicitous comeback produced by Nick Gold, Lamine Faye and Jerry Boys - is an irresistible mix of velvet harmonies, warm and heartfelt vocals, smoky sax and sweetly shimmering kora and guitar lines, expertly crafted and masterfully delivered with a poise and virtuosity built up over a lifetime.

We give you Orchestra Baobab: specialist in all styles, still going strong and still growing.

Wizards of Ooze was a Belgian band that released 3 albums between 1994 - 1999 and toured the whole of Europe. The bands sound is a mixture of different genres, combining elements from primarily soul, fusion and psychedelica. The Dipster was the bands debutalbum.