Pop & Rock Новости

Insurgently crossing Philly Soul, Cape Jazz and bump jive in 1976, the same year as the Soweto Uprising, poignantly shot through with Timmy Thomas' Why Can't We Live Together.
'It was so important for us to play a kind of crossover then, to weave in touches of Motown, Philadelphia soul and Teddy Pendergrass that the coloured community appreciated, and Basil's Cape Town sound, and Sipho's sound that was legendary in the black community, and make music that people could all enjoy together... The regime divided us: people classified coloured had identity documents, black people had the dompas. We didn't accept that separation. Sipho, although he was born in KZN, could play any feel. Sometime he'd joke, Does my bass line feel coloured enough'
Another landmark Matsuli. The title track is killer.

BUNDLED WITH A 22'x 22' POSTER OF THE COVER ART.

Maceo Parker was one of the most revered and loved members of James Brown's famed J.B.'s band from the late '60s to the mid-1970s. Alongside his instantly-recognizable alto saxophone solos, he occasionally performed as comedian before James Brown shows, in addition to playing MC. He was a true renaissance man. And while other members of The Godfather of Soul's inner circle - most notably trombonist Fred Wesley - had solo albums at the advent of Brown's People Records, Maceo had to wait his turn for a couple years. By the time 1974 rolled around, this talented musician and personality could not be denied, and he burst onto the scene as a group leader with one of the most impressive albums in the People catalog: the simply titled, but deeply felt, Us. Maceo's group (occasionally called The Macks) and Fred Wesley's J.B.'s were essentially the same unit - including guitarists Jimmy Nolen and Hearlon Cheese' Martin, drummer John Jabo' Starks, saxophonist St. Clair Pinckney and of course Fred Wesley on trombone. Unsurprisingly, the material here is never-endingly funky. But as shown in the song selection (presumably by Parker, with heavy-handy assistance from the Godfather himself), there are as many ballads and soul groovers as there are straight-up funk workouts. Cases in point include the mellow, Gamble & Huff-penned Drowning In The Sea Of Love' (with organ, most likely played by James Brown, slithering in the background) and the syrupy Show and Tell.' The album's closer is also on the slower side, going very deep and striking a chord, as Maceo and Brown talk about conditions in the Black American landscape of the day over the course of 10-plus minutes. And there is, of course, plenty of diesel funk here as well: singles like Soul Power 74' and Parrty' are downright nasty grooves, known well by James Brown fans old and new. Soul Power 74' additionally features very early proto-sampling, with a baby's cry as well as Martin Luther King Jr.'s famous I Have Been To The Mountain Top' speech. And Maceo's take on the J.B.'s classic Doing It To Death' is a unique version, more muted and of course featuring Maceo's gorgeous horn front and center. Appearing at the apex of both James Brown's and People Records' power, Us is a treasured jewel in the J.B. catalog, and rightfully so. This 150 gram vinyl LP comes in a Stoughton Jacket, housed in a custom People Records poly bag, and includes 24' x 24' poster.

Rise, Seun Anikulapo Kuti picks up the mantle as undisputed champion and true prince of the Afrobeat movement.

A JAZZ HARPIST is a rare thing. First of all the harp is a rather unlikely instrument to swing. It's an awfully difficult instrument to play really well and it demands technique that is incongruous with swinging. Perhaps as important is the thinking that the harp, by the very nature of the instrument, is likely to attract musicians who, in themselves, are improbable swingers. Dorothy Ashby is, then, a rare thing. She is indeed a jazz harpist and she does swing (...) This is not hard jazz. This is an album that says jazz can, after all, be melodic, that a thing can be gentle without being weak and can be sweet without being saccrine. What is done here is done well, the improvisation is creative, and in typical Dorothy Ashby thinking—it's done in beautiful taste.

Jim Rockwell

Station WKMH, Detroit (from original liner notes)

Jimi Tenor has compiled a selection of afro jazz tracks that he has written and performed over the years with musicians Icelandic drummer, Helgi Svavar Helgason, Helsinki based guitarist/bassist and journalist Ilkka Mattila, legendary drummer Tony Allen, Cuban & Berlin based trumpeter Daniel Allen Oberto, Ethiopian/Finnish & Helsinki based percussionist Abdissa 'Mamba' Assefa (Itetune), Nigerian/German & Berlin based percussionist Akinola Famson, Helsinki based percussionist Mongo Aaltonen, American & Paris based spoken word artist/singer & painter Allonymous, Helsinki based flügelhornist Tero Lindberg, Finnish & Berlin based guitarist Kalle Kalima, Polish & Berlin based bassist Patrick Frankowski, British trombonist Hilary Jeffery and Ghanaian/German & Berlin based drummer Ekow Alabi Savage. Jimi Tenor, born Lassi Osmo Tapio Lehto in Lahti, Finland, who has been releasing recorded music for 30 years, plays several instruments as is his usual practice. He is credited for playing on the upcoming release Saxentric, acoustic guitar, acoustic piano, background vocals, bass kalimba, drums, drum programming, electric guitar, electric piano, flute, Hammond organ, Korg MS-20, Korg PolySix, Log-o-phone, Moog, organ, percussion, Photophone, plastic bongos, programming, shaker, synthesizers, tambourine, tenor saxophone, vocals and Walton organ.

The second album by Ornette Coleman's legendary quartet featuring Don Cherry, Charlie Haden, and Billy Higgins, Change of the Century is every bit the equal of the monumental The Shape of Jazz to Come, showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers' interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer. Two of Coleman's most memorable classic compositions are here in their original forms -- 'Ramblin'' has all the swing and swagger of the blues, and 'Una Muy Bonita' is oddly disjointed, its theme stopping and starting in totally unexpected places; both secure their themes to stable, pedal-point bass figures (...)

Numbered first press of 500 copies.

In the spring of 1954 Jazz-great Dave Brubeck did a tour of North American college campuses. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) joined him and their support of Brubeck is uniformly flawless, ultimately producing what many consider as the most memorable music in the artist's cannon.

Indeed the genre gets schooled as the quartet leans in with striking energy and finesse. Enjoyed among college students in the 50s and early 60s both the tour and album brought Jazz to a whole new generation.

* 180 gram audiophile vinyl
* Feat. John Abercrombie, Steve Gadd, Anthony Jackson

Known for housing a famous Beastie Boys sample, the reissue of the 1975 funk and fusion classic Funk Factory brings peerless Polish and American players together for a groovy, eccentric journey.

It was an album cut from this LP that captured a particular corner of the music-geek imagination for more than 40 years: "Rien Ne Va Plus," from the self-titled 1975 album, had its reckoning with the canon when the Dust Brothers sampled major chunks of it for Beastie Boys' "Car Thief." "Rien Ne Va Plus" is a banger, all post-Head Hunters springy synth-bass.

As for the rest of the album, Funk Factory can stray pretty far into the cheerier excesses of prog-jazz. It emphasizes the alluring strangeness of its more experimental moments, like the hallucinogenic haunted-house tour of "Lilliput" or the banshee James Brown vocal riffs on "Horsing Around." "Rien Ne Va Plus" remains the top highlight. This album is proof that a core of musicians schooled in jazz but culturally steeped in the folk and classical traditions of Eastern Europe could, at least once, put out something that fit well with the crossover sound of the times while being unafraid to dive into freeform weirdness.

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

The Iris Bell Trio was originally from Charleston, WV and consisted of Iris Bell, Dick Pierson, and Butch Miles. In their seven years of existence the trio recorded two 45RPM singles and one full length album. This is their debut release and what a smokin' monster it is.

Remastered and limited edition reissue of 1971 Brazilian Samba/Jazz rarity, for fans of Cartola and Bezzera Da Silva, Caetano Veloso, Joao Donato. Jorginho Gomes Pessanha (1931-1981) released two solo albums in the 1970s. Born and raised in the Parada De Lucas suburb of Rio De Janiero, Jorginho Pessanha aka Jorginho' was the son of the founder of the United Samba School Chapel. Jorginho ultimately joined the hugely influential Imperio Serrano School of Composers under the tutelage of Imperian President Moacyr Rodrigues, who was part of Brazil's delegation to the First Black Arts Festival in Senegal in 1966. This is a hard-to-find piece of 1st-tier Samba, recorded in 1970, which will appeal to fans of Brazilian Funk and Jazz, easily the rarest and best work by one of Imperio Serrano's major figures.

2016 EP from Black Spirituals. Combines material from studio and live recordings, including a track from Seattle sessions with producer Randall Dunn (Earth, Sunno))), etc.). Originally a tour only release, now available for wider circulation. A preview for the forthcoming full length due later this year on SIGE. 'Two of the brightest musical minds of today - Marshall Trammell and Zachary James Watkins bring their skills and passion to Black Spirituals. Get this recording right away!' - Pauline Oliveros

Next up on Africa Seven is the second instalment of our series of Manu Dibango CD re-issues from the Fiesta label. 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 "Sun Explosion" album we are off to 1978, Paris. Six years after is international breakthrough with Soul Makossa, Manu is on a roll after scoring a couple of films the previous year Manu returns to the studio with long term collaborator and producer Rolande Le Couviour and Claude Achalle engineering to work on an artist album.

The albums four tracks, which are all lengthy, straddle a series of styles from the lazy, reaggae jazz of opener "Anty", to the more traditional "Manu" afro-funk-jazz sound of "Matumba". Remember its 1978 and Disco is in the air. Spin the record over to the B-side and you hear the sounds of the times have made their way into string epic, funky "Motapo" and the driving brass and funky xylophone on "Sun Explosion". A record that sounds surprisingly at home in todays current musical climate.

One Plus Oneis the five track debut EP by Melbourne bandThe Do Yo Thangs- a collection of sensual slow jams and bumping future soul dominated by rich, four-voice harmonies.

One Plus One is equal parts performance and programming, drawing from a broad palette of live instruments and electronic sounds. At the front, Hugh and Audrey alternate lead vocal duties, supported by harmony singers Maddie Otto and Tiaryn Griggs. Backing them, the guitar sound is classic soul but the plethora of synthesizers and 808 kick drums is definitely not, nodding equally to Vangelis or Hiatus Kaiyote. The more you listen, the more intricacy is discovered. The writing uses jazz elements and odd rhythmic devices, but it's all tucked away - there's nothing that intrudes into the foreground or interferes with the song's abilities to speak to an audience.

- Debut release from HopeStreet Recordings latest signing, The Do Yo Thangs.

- Features a limited run 7" vinyl pressing with 'One Plus One' and 'Indecisive'. Includes full artwork cover.

- 7" includes digital download of the full 5-track EP.

- 'One Plus One' accompanied by an official video clip.

It was 'Praise Poems 3' which introduced collectors and music lovers worldwide to Wanda Stafford. Most people have not heard of her before her inclusion on the aforementioned album. We loved this tune right from the beginning so it was just a matter of time to release it on 45. Finally here it is, and together with the b-side it is a monstrous double-sider which is looking for its equal.

Intensity was the final album of altoist Art Pepper's early period and was released when he was already serving a long prison sentence due to his addiction to heroin. Assisted by pianist Dolo Coker, bassist Jimmy Bond, and drummer Frank Butler, Pepper was just starting to show the influence of John Coltrane and Ornette Coleman in his style, freeing up his playing and displaying a greater intensity during his improvisations. Ironically, Pepper sticks to swinging standards such as I Can't Believe That You're in Love with Me,' Gone with the Wind,' and I Wished on the Moon' as points of departure on this interesting and largely enjoyable set.

With Clifford Jordan on tenor, John Handy on alto, Jane Getz on piano, and Dannie Richmond on drums, Charles Mingus went into San Francisco and whipped up a storm. This LP contains two compositions over 23-minutes each: New Fables' and Meditation (For A Pair Of Wire Cutters).' New Fables' features a ten-minute solo from Jordan, some fine ensemble work, and a solo encounter from Handy. Mingus changes the mood as he sees fit, and one would describe these different styles as avant-garde (in 1964), blues, flamenco, and straight-ahead jazz. Handy's work is stirring, deeply imaginative, technically thrilling, and a harbinger of what was to come the following year at Monterey. In Meditations' Mingus bowing the bass in the cello range with that certain sad quality, Jane Getz playing loose, free, and exciting, much as she does today, and a moment where Mingus joins Getz for a fourhanded piano romp. The piece is a flowing ballad, but there are constant changes throughout(...) (allaboutjazz)

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other expatriates and a French native. Along with Gordon, pianist Bud Powell and Kenny Klook' Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate.

20 years, 8 studio albums and the BaBaZuLa magic continues... Still fresh and innovative, not surrendering to musical boundaries. "Do NOT Obey", one of their strongest efforts to date, is a collection of songs of protest, caring, love and rock'n'roll, created in the hands of Istanbul's best psychedelic band of the 21st century.

BaBaZuLa is the face of modern Turkish Music, blending the sound of electric saz, dub and traditional shamanistic rituals into a hypnotic urban psychedelia. Poetry and theatrical aspects are also a plus. After several changes in the line-up since their formation in 1996, they recorded their 8th studio album. Do NOT Obey' was recorded in Istanbul with the current members Murat Ertel, LeventAkman, Can Aydemir, ÖzgürCakirlar and MelikeSahin. The album also features ErenDevranErtel, Elena Hristova on vocals, PeriklisTsoukalas on Electric Oud and FarukGiley on Drums as special guests.

1963 Ford Futura on the cover is owned by Murat Ertel (the founder of BaBaZuLa). Photos of the attractive cover design were taken by Dilan Bozyel at Auto Repair and Maintenance CenterIn Istanbul where BaBaZuLa's studio is located.

Released on 180gr. Heavy Black Vinyl in gatefold sleeve.

Features 'What the Funk' from Seeds, Roots & Fruits (Not found on the 12 Inch). Unreleased bonus track 'Strictly Wax' is vinyl only and will not be released digitally

George Benson's debut on Warner Bros. Records, Breezin' topped the Pop, Jazz and R&B album charts in Billboard and spun off two hit singles, the title song (which has become a smooth jazz standard) and "This Masquerade," which was a top ten pop and R&B hit.

Inventions & Dimensions is the third album Herbie Hancock ever released as a leader and proof that he was not an artist who was willing to be pigeonholed. Featuring a quartet made up of a bassist and two latin percussionists, Inventions & Dimensions explores the possibility of latin percussion outside the context of a latin jazz album. Comprised of post-bop and modal compositions all from the pen of Hancock, this is a beautiful album that shows the promise of a young and confident pianist and composer who would blossom into one of the most celebrated talents in jazz history. Essential.

Inventions & Dimensions is the third album Herbie Hancock ever released as a leader and proof that he was not an artist who was willing to be pigeonholed. Featuring a quartet made up of a bassist and two latin percussionists, Inventions & Dimensions explores the possibility of latin percussion outside the context of a latin jazz album. Comprised of post-bop and modal compositions all from the pen of Hancock, this is a beautiful album that shows the promise of a young and confident pianist and composer who would blossom into one of the most celebrated talents in jazz history. Essential.

The Miles Davis Quintet's 1960 European tour featuring John Coltrane marked the end of the most dynamic front line partnership since Dizzy Gillespie And Charlie Parker. This edition features the Quintet's complete April 8 1960 performance at Kongresshaus in Zurich Switzerland. Miles And Trane really stretched out on these tunes averaging about 14 minutes per song - superbly backed by Wynton Kelly - Paul Chambers & Jimmy Cobb. John Coltrane formed his first quartet as a leader at New Yorks Jazz Gallery in May 1960. After a short trial with Steve Kuhn on piano, McCoy Tyner joined the group. Coltrane also began playing the soprano saxophone during his tenure at the Jazz Gallery. It features Tranes first recordings ever with McCoy Tyner.

As the title implies, this McCoy Tyner release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss John Coltrane, Tyner stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with Coltrane. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist Steve Davis and drummer Lex Humphries, Tyner finds the room to develop classic statements on highlights like Monk's 'Round Midnight,' Ellington and Strayhorn's Satin Doll,' and Parker's Star Eyes.'. Ballads & Blues qualifies as one of the pianist's most enjoyable early discs.

1. Satin Doll
2. We'll Be Together Again
3. 'Round Midnight
4. For Heaven's Sake
1. Star Eyes
2. Blue Monk
3. Groove Waltz
4. Days Of Wine And Roses

Few artists in the music profession are as unclassifiable as Nina Simone. During her long career she tackled material from a variety of styles, garnering an audience that included soul devotees, folk followers, R&B lovers and even jazz buffs. 1962's Nina Simone Sings Duke Ellington helped consolidate her reputation as a singer/musician to be contended with and represents the first of two albums she recorded devoted to the work of one supremely talented individual - the other being Billie Holiday.

Given the status of the Duke's tunes, often allied to definitive performances, the decision to include a smattering of lesser-known melodies was probably a wise one. "Do Nothin' Till You Hear from Me," "I Got It Bad And That Ain't Good," "Solitude" and "It Don't Mean A Thing" had long been favorites Ellington circles, but lesser lights like "The Gal From Joe's," "Merry Mending" and "You Better Know It," really allowed Nina the chance to put her own stamp on them. Given its dedication to the compositions of one man, Nina Simone Sings Duke Ellington may be viewed as a curio - but it is one never to be ignored.

This 2LP-set from Vinyl Passion collects Stevie Wonder's first two albums - The Jazz Soul of Little Stevie and Tribute to Uncle Ray - both released in 1962 when he was just 12-years old and then known as Little Stevie Wonder. The all instrumental Jazz Soul of Little Stevie showcases the young artist's already developed songwriting and instrumental chops while it's follow-up Tribute to Uncle Ray finds Stevie paying respects to his musical hero Ray Charles with his now signature vocal abilities front and center.




















[T] 20. I Call It Pretty Music But The Old People Call It The Blues [Part 1]
[U] 21. I Call It Pretty Music But The Old People Call It The Blues [Part 2]

A funky collection of Bossa Nova, Samba and Brazilian Jazz, The Beat Of Brazil gathers 21 superb grooves recorded between 1961 and 1982, including classic tracks by Brazilian stars Elis Regina, Antonio Carlos Jobim, Gilberto Gil, Flora Purim and Airto Moreira, gems by the likes of Jon Hendricks, Herbie Mann and Louie Ramirez , as well as cult artists Banda Black Rio, Azymuth and Osmar Milito.






















[] 21. Flora Purim: Islands In The Sun (Interlude)

Limited#

The 4th Solo Album by Reknown Danish Film Music Compose Pederknow for Releases on Mo Wax, Ninjatune, Grand Royal, Ubiquity Records and his Scores , Breaking Bad' Amongst Others. The New ALbum featues and Instrumental original' Part and a 2nd Guest Version LP featuring Peders favorite danish singers: Coco from Quadron, Jonas Bjerre from Mew, Oh Land, Mikael Simpson, Jacob Bellens, Sleep Party People and more. The record is a return to more dusty and crunchy sound of his awardwinning debut And He just Pointed to The Sky' from 2007 released on Ubiquity Records. Peder began his career as a scratch DJ, household remixer for the Beastie Boys and one half of legendary danish Comedy team Gramsespektrum' (who released grammy awardwinning platinum albums in Denmark). Now he's a singer that makes dusty David Lynchian 50s music from your sweet nightmare and a filmcomposer with music featured in Breaking Bad". Plus as a director he was chosen for Saatchi & Saatchi's New Directors Showcase, Cannes Lions 2014.. This is his 4th solo album and his first on vinyl The record includes an original version and a guest version hidden inside with allmost the excat same layout. The Guest version have the same songs sung by Peders favorite danish singers: Coco from Quadron, Jonas Bjerre from Mew, Oh Land, Mikael Simpson, Jacob Bellens, Sleep Party People amongst others.

Spanish jazz-funk / prog-psych holy grail from 1976 featuring the crème de la crème of Spain's session musicians of the time.

Pepe Sánchez is a real legend when talking about drumming in Spain. From his beginnings in the 60s jamming with Pedro Iturralde, Tete Montoliu and Vlady Bas at the influential Whisky Jazz Club in Madrid, to recording in Miami with Diana Ross or Barbra Streisand, from working under the wings of Rafael Trabucchelli, Waldo de los Ríos, Augusto Algueró and Mancini to playing live with Barry White...Not forgetting his incursions in progressive rock with Araxes or doing session work for seminal Spanish albums like Gipsy Rock' by Las Grecas among others.

Pepe and his group of friends (Manuel Gas, Juan Carlos Calderón, Pepe Ébano, Tito Duarte, Juan Cano...) were the most requested Spanish session musicians of the time, appearing in countless recordings. In the mid-70s, he was approached by the Marfer label: the idea was to create an instrumental album based on Flamenco music and Spanish folklore but with a modern approach, adding electric guitars, electric bass, drums...Pepe recruited some his friends, all of them top session musicians with a jazz / pop background and the result was Regresión', his first solo album, released in 1976. It's an incredible fusion of jazz, funk, rock, flamenco and psychedelic / progressive sounds highlighted by the powerful drumming of Pepe, the wicked fuzz-wah guitar of Carlos Villa (Vainica Doble, Las Grecas), the sax / flute of jazz giant Pedro Iturralde and Manolo Morales (Jayme Marques, Bebu Silvetti...), the piano of Eddy Guerin (Tete Montoliu, Santisteban, Jayme Marques, Manuel Gas...), the trumpet of Juan Cano (Vlady Bass, Juan Carlos Calderón...) and José Luis Medrano (Dolores, Márquez...), the percussion of Pepe Ébano (Elkin & Nelson, Manuel Gas, Camarón, Max B, Santisteban)...
Includes the monster rare groove /funk track Sentimiento' and more!

Monoswezi weave traditional African songs and instruments with cool Scandinavian jazz. Zimbabwean mbira and vocals are enriched with Mozambican percussion and embellished with Nordic sax and sympathetic rhythm section