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Christof Kurzmann - electronics (ppooll), voice, live processing
Mats Gustafsson - slide, tenor, baritone, bass saxophones
Recorded ,mixed & mastered at Garnison 7, Vienna by Martin Siewert Artwork by Jimmy Draht Linernotes by Ken Vandermark

Kurzmann, one of the central figures of Vienna's avantgarde scene teams up in the studio with Gustafsson, Swedish sax player extraordinaire of THE THING and FIRE fame!

Next up on Africa Seven is the next installment of our series of Manu Dibango CD re-issues. Manu Dibango is probably the most famous musician from Cameroon and quite possibly one of the most internationally well-known African musicians ever. Manu Dibango is a most versatile musician, having played and recorded almost every style of music you care to mention - soul, reggae, jazz, spirituals, blues, African, electro.

Manu Dibango originally trained in classical piano, His musical career began in Brussels and Paris in the 1950. The 1960s finds him in Congo as a member of African Jazz led by Joseph Kabasele (Le Grand Kalle). He formed his own band in Cameroon in 1963, moving to Paris in 1965. His international breakthrough came in 1972 with international hit "Soul Makossa". This went on to be inspire the chant in Michael Jacksons "Wanna Be Startin Something" (and many others).

For the "Afrovision" album we move to 1976, in Paris. Four years after is international breakthrough with Soul Makossa, Manu assembles a supremely talent bunch of musicians who include Vicky Edimo (on bass) and our very own Africa Seven favorite Jo Tongo helping out with Guitar. Claude Vamur (Kassav) on drums, Alex Francfort on Piano and Celluloid / Bill Laswell stalwart Aiyb Diemg on percussion.

The albums six lengthy tracks, span a series of styles from the driving afro jazz of "Big Blow", The soundtrack-laced xylo jazz, smoothness of "Dakar Streets". The afrofunk, groove laden "Akoko Party", the smooth progressive afro jazz of "Bayam Sell'am" and the pensive, sax-driven, reggae slow-groove of "Baobab Sun 7". The album finishes off with the afrobeat grooves, punchy organ and layered guitars of the title track "Afrovision".

Bearing in mind in the same year Manu also recorded the equally masterful "Manu 76" album many argue that the year of 1976 was one the masters finest years.

Soccer96 is made up of two thirds of The Comet Is Coming, currently whipping up a cosmic storm on their Mercury Prize nominated album Channel The Spirits.


Their bold approach to improvised composition, recording processes and experimentation is reminiscent of Flying Lotus, Can, Thundercat and Gaslamp Killer.

Three years ago, a group of renowned danish jazz musicians showed up on the Copenhagen club scene. Their goal was to put together a band which would fuse the west african music of Fela Kuti with the inimitable style of jazz bassist Charlie Mingus. The two creative directors Michael Blicher (sax) and Gustav Rasmussen (trombone / guitar) dubbed their project The KutiMangoes (TKM).

Their debut album "Afro-Fire" took off like a rocket and won the danish Grammy award in 2014 for "Best World Music Album" and also was nominated in categories for "Best Compositions" as well as "Best Alternative Jazz album". Following this success the band appeared on worldwide festivals and laid down frenetic and inspired performances in Denmark and Germany.

For DJs across the globe, the favorite cut from the album was called "Fire". Vocalist Patrick Kabre, born and raised in Burkina Faso, was the featured singer on "Fire". He accompanied the band on several concert dates and even joined them headlining a festival in West Africa. This experience convinced Kabre and TKM to record their second album in his homeland. It was generally regarded among the musicians that something really special would be created when the recording was done where the music has its origin: Africa. Michael puts it this way: "Our musical mission has from the very beginning been to get deeper and deeper into combining our own musical heritage with influences from especially western Africa. So when we met the incredible Patrick Kabre from Burkina Faso, a musical collaboration started that made it possible for us to get closer to the rich musical traditions, the vibrant energy and the unique sounds of western Africa."

TKM have composed new tunes based on ancient traditional songs (such as Tolma and M'ba) and included them alongside original afro beat and afro jazz within the tracklisting. TKM's goal is to create music together - to share and meet diverse but brotherly cultures through music. And that's exactly what you will experience when listening to this album.

Three years ago, a group of renowned danish jazz musicians showed up on the Copenhagen club scene. Their goal was to put together a band which would fuse the west african music of Fela Kuti with the inimitable style of jazz bassist Charlie Mingus. The two creative directors Michael Blicher (sax) and Gustav Rasmussen (trombone / guitar) dubbed their project The KutiMangoes (TKM).

Their debut album "Afro-Fire" took off like a rocket and won the danish Grammy award in 2014 for "Best World Music Album" and also was nominated in categories for "Best Compositions" as well as "Best Alternative Jazz album". Following this success the band appeared on worldwide festivals and laid down frenetic and inspired performances in Denmark and Germany.

For DJs across the globe, the favorite cut from the album was called "Fire". Vocalist Patrick Kabre, born and raised in Burkina Faso, was the featured singer on "Fire". He accompanied the band on several concert dates and even joined them headlining a festival in West Africa. This experience convinced Kabre and TKM to record their second album in his homeland. It was generally regarded among the musicians that something really special would be created when the recording was done where the music has its origin: Africa. Michael puts it this way: "Our musical mission has from the very beginning been to get deeper and deeper into combining our own musical heritage with influences from especially western Africa. So when we met the incredible Patrick Kabre from Burkina Faso, a musical collaboration started that made it possible for us to get closer to the rich musical traditions, the vibrant energy and the unique sounds of western Africa."

TKM have composed new tunes based on ancient traditional songs (such as Tolma and M'ba) and included them alongside original afro beat and afro jazz within the tracklisting. TKM's goal is to create music together - to share and meet diverse but brotherly cultures through music. And that's exactly what you will experience when listening to this album.

Bossa Nova = Nouvelle Vague = New Wave.
This transliteration was the starting point for Marc Collin and Olivier Libaux's unique project, which, by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way: Camille, Phoebe Killdeer (whose Fade Out Lines was remixed by The Avener,) Nadeah, Mélanie Pain, and, soon, Liset Alea. The gambit paid off, with sales of over one million records over four albums released between 2004 and 2010, and world tours that included stops at venues such as London's Royal Albert Hall, L.A.'s Hollywood Bowl and Paris' Olympia. Since 2011, Nouvelle Vague had stopped recording, focusing on an innovative live show created in collaboration with the mythical Jean-Charles de Castelbajac (Ceremony and Dawn of innocence,) and branching out into different projects: Olivier's Uncovered Queen of the Stone Age, and Marc's Bristol, along with his Kwaidan label. The time seems right to write a new chapter in the Nouvelle Vague saga: with a new album I Could Be Happy' and live show, the band and its coterie of female vocalists continue their time travels with a renewed alegria. Nouvelle vague by Nouvelle Vague and Some Friends is thus more of a nexus of forthcoming projects: a new album comprised of punk and post punk standards imbued with the inimitable Nouvelle Vague touch, and, for the first time, a bevy of surprising Collin/Libaux which prove that the two producers are more than prodigious arrangers.This album is also the opportunity to gather again the pioneer singers of Nouvelle Vague: Élodie Frégé, Mélanie Pain, Liset Alea, Nadeah and to find other guests as Camille or Clara Luciani. A worldwide tour is already confirmed and announced. It will begin in Europe and Asia, in the fall, and will continue through South America and the U.S.A. in the new year, and feature the entire crew on stage, around Marc and Olivier: Mélanie Pain, Élodie Frégé, and Liset Alea.

Fred Wesley is an American jazz and funk trombonist, best known for his work with James Brown in the 60s and 70s, as well as his work with Parliament-Funkadelic in the second half of the 70s.

Wesley became a force in jazz in 1978 when he joined the Count Basie Orchestra. In 2015 Wesley was inducted into the Alabama Jazz Hall of Fame.

Wuda Cuda Shuda was made during Fred Wesley's 2002 European Tour. The band played in Alençon, Le Havre, Nancy, St Germain, Massy, Zurich, Peer, Marcq en Baroeul, Brainans, St Nazaire, London, Leeds & Chaumont.

The LP is called Wuda Cuda Shuda because of all the excuses that were made up for not doing it sooner. We Wuda done it last year or we Cuda done it when we were in New York or we Shuda done it with the guy from this label or that label and such weak ass procrastinations like that' - Fred Wesley.

This LP, as it is with the Fred Wesley Band, is an eclectic collection of rhythms.

A brand new compilation of material by John Baker from the BBC Radiophonic Workshop. Thrilling, sleazy, deranged & very hip.

The original electronic voice phenomena (EVP) 7' vinyl from 1971. Issued to accompany the publication of Raudive's seminal book 'Breakthrough - an amazing experiment in electronic communication with the Dead'. This is not a reissue. It is the ORIGINAL record and extremely rare. Only 100 copies available.

This Anthology includes 17 tracks from the sixteen albums he recorded for the label. It includes all of his great tracks including vocal versions of the Jazz classics, Oliver Nelson 'Stolen Moments', Freddie Hubbard 'On the Red Clay', Herbie Hancock 'Cantaloupe Island' and 'Maiden Voyage' , McCoy Tyner 'Effendi' and John Coltrane 'Naima', most of which he wrote the lyrics for. He also put beat poet Jack Kerouac's words to music for the track 'Be Bop Lives (Boplicity)' The Anthology also includes his interpretations of Brazilian songs 'Waters of March or 'Two Kites' written by Antonio Carlos Jobim and 'Empty Faces' co-written by Milton Nascimento. The more soulful side of Mark is illustrated by the Stevie Wonder song 'Looking for another pure love' and 'I Don't want to cry anymore'. His music was very popular on the London Jazz dance scene in the late 80's and 90's and still is today having been championed by Gilles Peterson and many other DJ's. The song he wrote about the scene 'Ding Walls ' is included, this being the first time that track has ever been released on Vinyl. It takes a very special singer to take a well known Beatles song and re-interpret it with a Big Band arrangement, and make it his own. This Anthology closes with what has to be one of finest Jazz Vocal versions from their entire songbook, his take on 'Eleanor Rigby'.

SPACE PATROL ("Raumpatrouille - Die phantastischen Abenteuer des Raumschiffes Orion") was the first German science fiction television series. Its seven episodes were broadcast by ARD TV, the first episode being aired on September 17th of 1966. Being a huge success with audience ratings up to 56%, the series acquired a distinct cult status in Germany and worldwide. Peter Thomas composed and recorded the original score, which has become a soundtrack classic and collector's item among rare groove afficionados since its original release on Philips. The music, floating between avantgarde jazz, big band beat and spaced-out psychedelia, set a new benchmark in the history of film music and science fiction scores and became one of Thomas' best known works. The title theme is the first known piece of music in pop history to feature a vocoder, a device that until then had exclusively been used for voice encoding in military warfare. Peter Thomas borrowed a device from the Siemens factory to process his voice for the recording of the countdown. The composer remembers: "When producing the score, I had complete creative freedom. No one had ever been into space, so no one would dare to tell me how the music should sound like." Now, 50 years on, The Mighty Mocambos teamed up with the legendary musical mastermind a recorded an up to date, truly global and funky 2016 version in tribute of the original theme. "Space Patrol (Raumpatrouille)" is the only official recording of the track released for this anniversary and authorized by Peter Thomas, who even plays on it himself. To give this 50 years version a new twist, the specially formed Mocambo Astronautic Sound Orchestra adds steel band orchestration to the massive brass and funky rhythm section. Orion 2016 is available as a 7inch single in a deluxe picture sleeve on Mocambo Records and as a digital download on Legère Recordings.

Rare & previously unreleased music featuring big band grooves, moog synths, pyschedelic funk, dub disco produced between 1969 & 1981.


"Sonically superior to most library reissues - full of funk, rock, whatever genre you can think of. This label knows how to do this propah!' -

This album screams modernity! Rollins plays hard on this superb bop classic released in 1960: the disc contains a combination of two different recording dates from 1956,shortly after the devastating car accident that took Clifford Brown and Richie Powell. Max Roach, Sonny Rollins and George Morrow still played powerfully as Kenny Drew filled in nicely. The wonderful hip Abstract Expressioniste album cover generates the tone contained inside the packaging. Fans of free jazz and bop should not neglect this masterpiece!

(...)1958's Monk's Music is among the most significant of Thelonious Monk's classic albums. Here he was literally looking back and ahead at the same time, by bringing together Coleman Hawkins (the very first important voice on tenor saxophone) and John Coltrane (on the verge of becoming a major shaping force of the '60s). Equally notable is the incredible rhythmic support provided by combining Art Blakey and Wilbur Ware, and, justifying the album title, a selection of vital Monk compositions - plus his choice of the 19th century hymn, Abide with Me' (written by one William H. Monk) (...) (Music Direct)

(...) At the time of its original issue in late 1957, Mulligan Meets Monk was considered an anomaly. Its two namesake artists represented two different, divergent schools' of jazz. Gerry Mulligan, the baritone saxophonist, was associated with the laid-back, relaxed vibe of cool jazz. He had played with Miles Davis on the sessions that would become the definitive Birth of the Cool. Around the same time, he had made a name for himself as an arranger and performer with Chet Baker. Thelonious Monk, the pianist, was a cutting-edge, rule-breaking composer and performer, so much so that for the first decade of his career he was often viewed as a misguided outcast. Monk's harder, angular, almost percussive style was a crucial influence on the bebop style of jazz. Musically, Mulligan and Monk seemed to have little in common.(...) The sessions that became Mulligan Meets Monk occurred by happenstance, as John Coltrane, with whom Monk had been performing at the time, was the Riverside label's original choice of sax player. Coltrane was unavailable, though, so producer Orin Keepnews decided to have Mulligan take part instead. Good things often happen by accident, and Mulligan Meets Monk is one of those. Over time and several reissues, it has become a favorite among fans of both artists

An engaging pianist whose crisp, forceful attacks take off from Bud Powell territory but go well beyond mere imitation, Akiyoshi is also a skilled composerarranger and ranks as one of the more acclaimed figures in the Bop-based Modern Big Band field. Her work in the latter category blends swinging, Gil Evans-esque arrangements with occasional Eastern influences, spotlighting top-notch soloists such as tenor saxophonist/flautist Lew Tabackin.

(...)About this session, recorded in July, 1956, Toshiko begins by saying of her altoist colleague, Boots played so beautifully on the session. Of my tunes, Salute to Shorty I originally wrote for ve horns. Pea, Bee and Lee I wrote for Lee Konitz (he does not know it.)' Henry W. Boots' Mussulli is an emotionally vehement modernist who has worked with Mal Hallett, Teddy Powell, Gene Krupa, Charlie Ventura, and has headed his own units. Boots along with bassist Wyatt Reuther, formerly with Dave Brubeck and Erroll Garner, and drummer Edmund Thigpen of the Billy Taylor trio is heard with Toshiko on all tracks but Pea, Bee and Lee, No Moon at All and Thou Swell. On these three. Oscar Pettiford, one of the major bassists in jazz history and the crisp, spearing Roy Haynes of the Sarah Vaughan entourage accompany Toshiko (...)
(from original liner notes)

Fascinating warehouse find dating back to the 1996 Ambient / Electronica scene, which in retrospect can be seen as the most experimental and open-minded period in electronic music ever. Whilst the A-side features a long, calm and hypnotizing take on Ravel's most recognized piece - Bolero and, regarding the time of production, is nothing but an Ambient predecessor to the now popular crossover between electronic and (neo)classical music we see the three tracks on the B-side explore creeping slo-mo Illbient spheres and krauty Electronica and Jazz experimentalisms.

The soundtrack of L'AMICA" from the title track highlights the excellent piano technique and the jazz vein of the Maestro mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It's followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau' offers an elegant and dreamy atmosphere in Les Baxter's style adding flute and female wordless vocals. "Swingin' easy in Tanganyika" is another extraordinary jazzy piano and drums with flute melody sideways. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP.

The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem Episodio in 3/4". The ballad "The Bitter Truth" is well sung by Fiorenza Mormile in English







[F b1 ]Si Finisce Così

Originally pressed in 1972 in Italy by Le Monde (a label which has in its catalog only 6 titles released in few copies for Radio and TV) is an insanely rare Library Music masterpiece. Absolute the hottest, weirdest, psych-jazz album of the era. Maria Teresa Luciani is the sister of Maestro Riccardo A. Luciani. The only known members of the session is the great Gino Marinacci on flute, here on his most obscure recording session, and Riccardo A. Luciani on all piano, fender rhodes and treated keyboard delays.


The whole Lp is outstanding with various moods and atmospheres from the groovy fuzz distortions of LOGARITMO IN DO, the funky B-boy drums and jazzy psychedelia of FREE FLUTE IN BEAT, the modal cum spiritual jazz of PLAYING FOR FUN to the frantic rhythms of TRAFFICO CAOTICO and CRAZY MORNING. Amazing hard bop on FOTOGRAMMI, experimental jazz on WALKING IN THE NIGHT and FREE JAZZ and the beautiful FREE FLUTE theme.

Outrageous drum skills, electric piano played with a wah wah pedal, studio effects and echo delays on the more psychedelic themes.

MUSICA AMORE is an extraordinary album (1972) by Maestro Piccioni which includes songs from various soundtracks showing his many facets. He utilizes the gorgeous voice of Shawn Robinson in "Right Or Wrong" and "Once and Again" (from giallo thriller ...Dopo di che, uccide il maschio e lo divora' aka "Marta' e "La Volpe Dalla Coda Di Velluto' aka "Eye Of The Hurricane'), the choir I Cantori Moderni di Alessandro Alessandroni, the band of I Marc 4 (M. Majorana, A. Vannucchi, R. Podium, C. Pes) and soloists of the caliber of Gianni Basso and Dino Piana.



An absolutely killer LP with superb arrangements, funky beats, exotic sounds ("Ebony Ride" from 077 Dall'Oriente Con Furore'), breaks, erotic lounge, beat, shake ("Abigaille" from I Giovani Tigri"), psychedelia ( Fiore Nero" from Inghilterra nuda"), and jazz, that stands as a key album in the world of Italian library music and soundtracks.

INCHIESTA SUL MONDO is a double experimental concept album, mainly electronic, on topical problems of the period in which it was released, the middle 1970's. The two records have two different arguments: STATI D'ANIMO (STATES ON MIND) and DIAGNOSI ECOLOGICA (ECOLOGICAL DIAGNOSIS). Maestro Luciani is a well-known artist in the library music scene. His very personal style is the result of musical studies from childhood that allowed him to achieve a diploma in composition, choral music, choral conducting, and more. The avant-garde and contemporary classical approach links him to artists like Egisto Macchi. Another point of contact between the two is the label that produced this double album, AYNA, which Macchi was a partner in.



The album comes out with a minimal graphic design as the original but with heavy cardboard gatefold cover with an original photo of the Maestro inside.

A tough, funky '70s instrumental score that perfectly fits the insane violence of this seldom-seen Lee Van Cleef hitman film! QUEL POMERIGGIO MALEDETTO (aka THE PERFECT KILLER) is one of the wildest, sleaziest Eurocrime movies ever made, it ultimately got made with Lee Van Cleef as the star and featuring such sexualized violence as a female getting shot in her nether regions, a straight-razor fight with trans women and some rapes that make you feel more uneasy than do most. But no rundown of the "stars" of this film could be complete without mentioning Stelvio Cipriani's funk score. Mind you, the '70s was already a funky decade of music, just as the Eurocrime genre was already a violent and sexual movement of cinema. But both Cipriani's score and the film pushed together to find new extremes of funkiness and raunchiness. Normally if someone hears playing '70s instrumental funk says, "What is this It sounds like porno music!" ... well, that's grounds for departing from his or her presence, perhaps not to return. It's terribly limited thinking to associate all instrumental funk from the decade with smut movies. And yet, I must confess there's a certain sleaziness (and I use that word lovingly) in Cipriani's MALEDETTO title track that perfectly evokes the on-screen tawdriness to come. The wah guitar. The prominent electric bass. The slithering, laid-back horns. It's an ingenious groove and yet dripping with sleaze.

And even though there's a laconic mid-tempo quality to the title theme, there's also something that drives it steadily forward. And that perfectly captures the doggedness and determination of Van Cleef's hitman character, who constantly pushes forward in his quest, even after he's been betrayed by his former partner, his new criminal organization and his woman. (In fact, it was QUEL POMERIGGIO MALEDETTO that crystalized in my mind how well the Eurocrime genre worked when operating within these "one man against the world" stories.) In any case, let all nerdy trivia questions fade away as you get lost in some magnificent, sleazy funk by maestro Cipriani. And we'll "see you in Hell, kitten.'

from Mike Malloy Liner Notes on LP

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME.

"What makes these recordings particularly special is that they reflect an important element in the development of the 'Minneapolis Sound' - a phenomenon bought to the world's attention by the emergence of Prince. And the outstanding contributions that Prince bought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age." - PEPÉ WILLIE, founder 94 East.

This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie's band - 94 East, recorded between December 1975 and February 1979. On the record, Prince contributes electric guitar, guitars, bass, keyboards, synths, organ, drums, harmony and backing vocals and is clearly heard on all of these historic recordings.

The release has received a new, pure analogue remastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios, and pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany.

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME.What makes these recordings particularly special is that they reflect an important element in the development of the 'Minneapolis Sound' - a phenomenon bought to the world's attention by the emergence of Prince. And the outstanding contributions that Prince bought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age." - PEPÉ WILLIE, founder 94 East.This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie's band - 94 East, recorded between December 1975 and February 1979. On the record, Prince contributes electric guitar, guitars, bass, keyboards, synths, organ, drums, harmony and backing vocals and is clearly heard on all of these historic recordings.

The release has received a new, pure analogue remastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios, and pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany.

Feelin Alright is Frode Thingnæs first album. It is considered a Norwegian jazz masterpiece from 1974, a true holy grail amongst jazz collectors. It sells for high amounts online. It was originally released in small quantities with very limited distribution, mainly in Norway. Recorded in the 70's, combining funk, folk songs, jazz and soul, makes it an unique album that represents the contemporary 70's jazz scene in Norway.

This is the first official licensed re issue of the original album, exclusively through Preservation Records. We have found the original mastertapes in the national library vaults and the one and only Jan Erik Kongshaug have remastered it. He is considered oneof the grand masters of Sound engineering. Altogether, he has produced over 4,000 jazz records, and is particularly known for his recordings of some 700 recordings for ECM Records since the early 70's. A truly legend. He also plays at this session.

One of the most original and influential singer-songwriters of all time, Prince has been an integral part of many people's lives with his music and controversial behaviour.

Originally released in 1987, Sign 'O' The Times' was the ninth studio album to be released by Prince. The album was widely hailed by critics as a return to form - and, as time passed, as Prince's pinnacle. It yielded hit singles in the title track (peaking at #10 in the UK), the rocking Sheena Easton duet "U Got the Look" (#11), and the poppy "I Could Never Take the Place of Your Man" (#29).
This reissue will feature two 140g black 12' vinyl records.

Dibia$e has cemented himself as a producer on the forefront of today's burgeoning beat scene. A product of Watts, CA, Dibia$e found his style in his mothers garage banging out beats while playing video games to avoid the strife of the street life - and he continues to grow with each and every release. Originally released on CD/Digital in 2011, Sound Palace has remained an absentee in Dibi's vinyl catalog...until now. Throughout the instrumental record, Dibiase shows his incredible ability at crafting spaced out 8 bit Nintendo beats merged with a Dilla-esque smoothness and a South Central twist into a sound wholly his own. From Baker's Dozen to Looney Goons to Schematiks, Dibiase's vinyl releases have garnered a reputation for selling out with a quickness. Strictly limited to 500 units and housed in a 2 color chipboard jacket, Sound Palace enables new fans and enthusiasts alike to add a sure shot to their collection.

Five Parts of the Soul is inspired by the ancient egyptian concept of the Soul, which says that a human soul was made up of five parts: Heart, Shadow, Name, Soul and Spark. 5POTS is a five-part journey into the past, passing through desolate canyons and scorching deserts, obscure rain forests and crowded thrift markets. All of the songs have different styles and takes on what Soul music could be.

Limited edition of 300 records. Spot-glossed cover and lyric sheet insert included.

With the clarity of a lucid dream, Milo's new album So the Flies Don't Come combines sharp spoken words and riveting beats into an irrefutable work of art. His music is expansively original, like a science experiment whose constants are poetry and philosophy. So the Flies Don't Come features a crisp cast of guest artists: Myka 9, Elucid, Open Mike Eagle, and Hemlock Ernst a.k.a. Samuel T. Herring of Future Islands all bring their distinctive talents to the sonic table. Interesting breaks create a refreshing cadence in Souvenir (feat. Hemlock Ernst),' a stroll through the park that playfully pauses in thought. Let your soul fly with Zen Scientist (feat. Myka 9),' and tilt into the bright light as Yomilo' wrenches down the beat. A breathless finale to the album, Song About a Raygunn (An Ode to Driver)' sends off the listener with an undeniable burst of energy. Chill but aware, clever yet inviting - So the Flies Don't Come is a skillful showcase for Milo's articulate wit, expressive warmth, and gifted production

Plain Speaking is the lucid new release by Scallops Hotel, the candid alter ego of Chicago poet and producer Milo. A robust introduction for his new label imprint Ruby Yacht, the album blends experimental production and endearing beats with open, honest rhymes. Plain Speaking is profound yet accessible, a solid handhold to grasp onto amidst the chaos of the modern world. Easy yet serious, lighthearted and sincere, Plain Speaking immediately draws the listener inward. The album's first single Lavender Chunk' -- featuring Hemlock Ernst a.k.a. Samuel T. Herring of Future Islands -- leans back into a simpler time, remembered like a hazy dream. Slanting darker and submerged inside echoes, Tense Present' flips from contemplative flow into a stream of comforting clarity. True Nen' is a thoughtful track that breathes deeply, an offering of assurance over discord. Plain Speaking is a remedy, the cure for the common conversation. The familial tones and straightforward flow of Scallops Hotel function like an outstretched hand. Plain Speaking never pushes, rather it invites you to sit and listen. To have hope, and to heal through art.

With many new roads traveled over the last few years, The Gaslamp Killer is back with the full-length LP Instrumentalepathy. Releasing on vinyl, CD and digital formats, GLK will initiate his new imprint Cuss Records with Instrumentalepathy. French surrealism artist Albane Simon designed the cover, supplying an array of psychedelic imagery that contains a brilliant sense of connection to GLK's music & the chaos he's survived. Instrumentalepathy features an impressive cast of artists tied closely to GLK over his music career with Brainfeeder, Low End Theory and beyond. Guests include Gonjasufi, Miguel Atwood Ferguson, Niki Randa, Kid Moxie, Mophono, Amir Yaghmai and The Heliocentrics. It's been over a decade since GLK and Gonjasufi have collaborated on new music, bringing the two natives of San Diego back together for something truly special. As many know, GLK used the triumphs of battling a near death experience three years ago when shaping his debut Cuss Records album. A handful of the tracks were even captured from his bed, unable to walk, with morphine running through his veins and staples in his body. A musical illumination that one could argue helped save his life and steared him towards the achievements he has accumulated with his live band The Gaslamp Killer Experience. Instrumentalepathy marks the catalyst point of an important road for GLK and the electronic community at large. Instrumentelephy, like his latest releases, continues down the rabbit hole of his debut full length Breakthrough (Brainfeeder) and the recent live record with his band The Gaslamp Killer Experience. Molding psychedelic ethos and heavy drum breaks with the traditional music language of his ancestors and the futuristic landscapes of modern electronica, GLK continues to push the boundaries of contemporary music.

The delta guitar legend's 1949 recordings originally on Regal, rereleased on Biograph in the 1970s. This is mid-period McTell, finding the bluesman at his best with a pronounced guitar playing that conveys a sense of masterful urgency. Features a classic Biograph cover. Liner Notes by Down Beat's Chris Albertson and produced by Arnold Caplin. Limited edition gold vinyl.

The delta guitar legend's 1949 recordings originally on Regal, rereleased on Biograph in the 1970s. This is mid-period McTell, finding the bluesman at his best with a pronounced guitar playing that conveys a sense of masterful urgency. Features a classic Biograph cover. Liner Notes by Down Beat's Chris Albertson and produced by Arnold Caplin. Limited edition gold vinyl.

This Double CD collects repertoire from the labels Grover Washington Jr recorded for Kudu, Motown, Elektra, Blue Note & Columbia. Package includes the Grammy winning 'Just The Two Of Us' which featured vocals by Bill Withers, which won Best R&B Song, and 'Winelight' which won the Grammy for Best Jazz Fusion performance.
Also included are the full length versions of the classics 'Mister Magic', 'Knucklehead', 'It Feels So Good' and the much sought after 'Summer Song' from the Live At The Bijou' album. Grover played with some of the best Jazz (Funk) musicians and this package features many of them including Bob James, Eric Gale, Marcus Miller, Richard Tee, Idris Muhammad, Harvey Mason, Randy Brecker, Louis Johnson & Ralph MacDonald to name but a few.
But Grover Washington Jr was not all about instrumentals: as well as featuring Bill Withers on 'Just The Two Of Us' check out Patti LaBelle's stunning vocals on 'The Best Is Yet To Come'. Also this package features tracks by Eric Gale, Bob James and Idris Muhammad where Grover is a featured artist, playing memorable sax solos. This album has the lot. Topped off with liner notes from Charles Waring, contributor to MOJO & Record Collector magazines.