Pop & Rock News

Italian jazz man Nicola Conte is internationally known for his sophisticated productions on labels such as Blue Note and Universal, as well as touring the world with his floor-shaking DJ sets.

The passion and knowledge that Conte brings to the DJ booth is perfectly represented in this Viagem 10', the fourth volume of a five-part vinyl only series, curated by Conte and dedicated to bringing some of the rarest and most sought after samba jazz and bossa gems to a new generation of record collectors. The majority of these tracks have only seen the light of the day on small 7' runs in 1960s Brazil and they're next to impossible to find unless you're willing to part with some serious cash.

This volume kicks off with As Meninas' infectious 'Rondo Sambao', playful subtropical samba stroke bossa that takes so many turns in its short cycle that it leaves you breathless, the sweet vocals and whistles alongside the shaking percussion will have you smiling wide and swinging to a beat that runs throughout 'Viagem 2'. Elsewhere, Claudia's 'Deixa O Morro Cantar' delivers big brass and a soaring vocal to a chant that demands we leave alone the girl singing sad songs from the mountains. This collection is full of atmosphere and history, a glorious vintage trip through the steamy samba joints and grooving jazz clubs of Rio and Sau Paulo, amounting to a nostalgic journey deep into the lost sonics of Brazil's musical history and jazz identity. Viagem 2 is an essential addition to any connoisseur's collection and brings to the listener an unparalleled experience of music that inspired the foundation of Far Out Recordings.



'The tracks are much more than "tunes". They are proper compositions with arrangements. That is to say: substantial harmonic colour, richly voiced chords, changes of key, myriad parts for rhythm section, horns and voices, and a strong sense of narrative. They are short stories that are long on ideas.

If the marriage of jazz and Brazilian music is one made in heaven, then this is a set of sophisticated yet earthy wedding songs of the highest order.' BBC Music

One of a handful of masterful films Fellini made during the
'60s, including La Dolce Vita, Giullietta Delgi Spiriti, and Satyricon, 1963's 8 ½ is arguably the director's best work and one of the high points of 20th century cinema.
Eschewing many traditional narrative devices Fellini presents his biographical portrait through a prismatic and fantastical series of flashbacks and 'real time' scenes, both professional and personal in content.
As usual, his longtime musical collaborator, Nino Rota, substantially enhances the dreamy proceedings with a music hall melange of Jazz, Classical, Lounge, and circus music. Rota moves the main title theme through a mix of operatic interludes, cabaret swing, polka romps, and organ combo ditties.



Libellule' / Cadillac / Carlotta's Galop



Siviglia' / Il Valzer Dei Fiori Da 'Lo Schiaccianoci'

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

The Black Feeling series on Freestyle Records reaches it's third edition.

Presented as an old school collection of obscure covers versions funk, jazz & latin series classics by unheard of bands are in reality brand new re-interpetartions by Lance Ferguson - the Australian musical phenomen behind The Bamboos, Cookin' On' 3 Burners and Lanu.

The previous Black Feeling singles and albums have become worldwide smashes - Hippy Skippy Moonstrut from Volume 1 shifted masses of vinyl - and has had millions of You Tube viewings. Volume 2 yeilded up a version of Shaft In Africa that even Jazz FMs Peter Young said was better than Johnny Pate's original!



[C] 3. Sao Paulo - Nova Catalina Octet[]

The Black Feeling series on Freestyle Records reaches it's third edition.

Presented as an old school collection of obscure covers versions funk, jazz & latin series classics by unheard of bands are in reality brand new re-interpetartions by Lance Ferguson - the Australian musical phenomen behind The Bamboos, Cookin' On' 3 Burners and Lanu.

The previous Black Feeling singles and albums have become worldwide smashes - Hippy Skippy Moonstrut from Volume 1 shifted masses of vinyl - and has had millions of You Tube viewings. Volume 2 yeilded up a version of Shaft In Africa that even Jazz FMs Peter Young said was better than Johnny Pate's original!

Volume 3 sees Dexter Wansel's Life On Mars get the Black Feeling treatment as well Herb Albert's Rotation, Cymande's Brothers On The Slide and Mandingo's Black Rite - all super heavy and sounding massive for 2015.

Fantasy Records salutes the famed pianist Vince Guaraldi, who, despite gold records and global acclaim as a renowned jazz artist, will always be best known for his cheerful, uplifting work with Charlie Brown and the Peanuts gang. Although he passed away at the young age of 47 in 1976, Guaraldi will always live on in the minds and hearts of jazz and music fans of all ages; and this deluxe vinyl box is the ideal salute to this very deserving artist. The Definitive Vince Guaraldi spotlights 31 tracks recorded by Guaraldi between 1955 and 1966, presented on four 180-gram vinyl LPs. Also included is a collectible 12" x 24" poster of Guaraldi; a reproduction of a 1960s promotional cutout Vince Guaraldi mustache that can be worn; and a 16-page booklet, featuring rarely seen photos and Guaraldi ephemera, plus liner notes by jazz historian Doug Ramsey.

Features:
- 180g 4LP box set
- 31 tracks recorded between 1955 and 1966
- Collectible 12" x 24" poster of Guaraldi
- Reproduction of a 1960s promotional cutout Vince Guaraldi moustache
- 16-page booklet featuring rarely seen photos and Guaraldi ephemera, plus liner notes by jazz historian Doug Ramsey

Available on vinyl for the first time! A festive collection of classic tunes featured in the beloved Peanuts television holiday specials, all with the sophisticated, yet accessible jazz stylings of the Vince Guaraldi Trio. The album includes titles from A Charlie Brown Christmas, It's the Great Pumpkin, Charlie Brown, A Charlie Brown Thanksgiving and Be My Valentine, Charlie Brown. Ralph Gleason notes, "All the characters in Peanuts are artists confronted with the illogical, blind and mechanistic world. It was natural that Vince Guaraldi's music should fit so well."

Having had major success with the 1959 LP 'Time Out', it is no surprise that Dave Brubeck decided on a follow-up which came in the shape of the 1961 album 'Time Further Out'. Once again, Dave plays about with various unusual time signatures, The album tracks are arranged in increasing order of time signatures, starting with It's a Raggy Waltz in 3/4 and closing with Blue Shadows in the Street in 9/4. 'Time Further Out' was generally considered a worthy successor to 'Time Out', peaking at Number 8 on the Billboard album chart. Dave Brubeck has left a considerable legacy to succeeding generations. He was determined to synthesise all that he felt was good in music, and he always did so with a touch of humour.

Brazil is a country of great musical talent especially in the field of rhythm oriented music. The rich tradition of samba sounds among others will certainly prove that. By the 1970s of course other styles came into the music lover's perception. Funk and soul swashed down south from the bigger US metropolises and infected a whole generation of musicians including Miguel De Deus and his fellows. As a result the former OZ BRAZOES (Latin acid rock with fuzzed out guitar) rhythm guitarist and his crew delivered their now classic sole album "Black soul brothers" in 1977, a hot blooded, steaming masterpiece of raging ghetto funk spiced up with soul eruptions on and a Latin American flavor. A rather explosive cocktail in times of slick disco music. The Latin elements tend to be more like a support for the groovy soul and funk than a bearing pillar of the whole sound. They still give the songs exciting twists and turns. The non stop rhythm pulsations would certainly feel different without any Samba influence. And so the album presents a permanent steaming dance beat that will swallow you when you put this hottie on your turntable. A never ending swirl of rhythm patterns, bass notes, brass section harmonies and commanding vocals pushes you to your physical limits. A few more relaxed songs let you breathe some fresh air but the spell of this music lasts upon your soul. You want to go wild and crazy and have your lame high school party turn into a loose and lethal freak out Play some wicked Latin funk like "Flaca louca" with its beautiful interplay of utterly melodic female vocals and dirty, screaming male vocals, your desired result will be the case. An ingenious crown jewel of 70s funk that will appeal to each fan of early FUNKADELIC, BLACK MERDA, BETTY DAVIS.

This is a holy grail of an album not many people actually seem to know about. I heard about 1978 as initial release date but it could be some archive material as well because the music sounds more vintage. Strange drum patterns, cool jazzy melodies and a tenor sax going crazy make the first tune and you could imagine Miles Davis, Pharoah Sanders, John Coltrane and Herbie Hancock jamming. Suddenly this tune, "Royal walk" turns weird. A spoken word part sets in which feels like the guy (Ron Everett) reading a poem or something. But before you know what happens the original freak jazz part returns to close this sweet tune. What comes next A gentle 50s style Latin pop effort with a great female singer delivering some hot vocals. Somehow a 70s flair hangs above the songs you just cannot tell why it feels this way. The complex rhythm patterns here move straight into your blood and the sweet melodies pull up the sun at the beach. The whole composition generates an atmosphere of easy leisure and still there is this edgy, free playing from the brass section which reminds us this was a band rooted in the field of progressive jazz. Pop works well with Ron Everett and soon you understand what is going on. This raw yet vivid sound makes the atmosphere of a live performance. But the third number "Tipsy woman" is a typical relaxed funk song of the 70s with just a little free jazz spicing it up. Great electric piano performance here and the laid back and lascivious vocals are the icing on the cake. Utterly cool and sexy. All in all there is quite a bit Latin music thrown in the mix and this band performs it fairly well with passion and an extra share of fire in the heart. The groove infuses this record from the first to the last note. Polyrhythmical webs of beats and percussion sounds held together by a rather relaxed bass guitar spin a musical cocoon around your soul. The performances are all quite impressive and should even catch the attention of a sophisticated jazz fan. The raw and unpolished sound surely adds a lot to the mythical atmosphere of this album even though it might be a bit much for the average pop fan in this genre. Well, this Ron Everett album is a gift for the real lovers of strange but beautiful music.

This is a holy grail of an album not many people actually seem to know about. I heard about 1978 as initial release date but it could be some archive material as well because the music sounds more vintage. Strange drum patterns, cool jazzy melodies and a tenor sax going crazy make the first tune and you could imagine Miles Davis, Pharoah Sanders, John Coltrane and Herbie Hancock jamming. Suddenly this tune, "Royal walk" turns weird. A spoken word part sets in which feels like the guy (Ron Everett) reading a poem or something. But before you know what happens the original freak jazz part returns to close this sweet tune. What comes next A gentle 50s style Latin pop effort with a great female singer delivering some hot vocals. Somehow a 70s flair hangs above the songs you just cannot tell why it feels this way. The complex rhythm patterns here move straight into your blood and the sweet melodies pull up the sun at the beach. The whole composition generates an atmosphere of easy leisure and still there is this edgy, free playing from the brass section which reminds us this was a band rooted in the field of progressive jazz. Pop works well with Ron Everett and soon you understand what is going on. This raw yet vivid sound makes the atmosphere of a live performance. But the third number "Tipsy woman" is a typical relaxed funk song of the 70s with just a little free jazz spicing it up. Great electric piano performance here and the laid back and lascivious vocals are the icing on the cake. Utterly cool and sexy. All in all there is quite a bit Latin music thrown in the mix and this band performs it fairly well with passion and an extra share of fire in the heart. The groove infuses this record from the first to the last note. Polyrhythmical webs of beats and percussion sounds held together by a rather relaxed bass guitar spin a musical cocoon around your soul. The performances are all quite impressive and should even catch the attention of a sophisticated jazz fan. The raw and unpolished sound surely adds a lot to the mythical atmosphere of this album even though it might be a bit much for the average pop fan in this genre. Well, this Ron Everett album is a gift for the real lovers of strange but beautiful music.

The whole recording project, the rediscovery of an atypical artist like Ivan Cattaneo, is ready. The same Cattaneo has more artistic identity: painter, poet, one man show ... but with this project, some colleagues known, established and emerging, have ventured to reinterpret his pen of author, bringing to light its first decade by songwriter, when Cattaneo realized discs and songs, under the guidance of the great Nanni Ricordi, inventor of the songwriters, musicians such as PFM, Roberto Colombo, Tony Mimms. The artists who joined this project are: Banda Osiris - Garbo - Gianni Leone Ballet Bronze - Montefiori Cocktail - Luca Urbani + Alberto Styloo - Andrea Zuppini - Allerija - John Block - Egokid - Elektroshock - Ensonika - Dario Faini - Alessandro Orlando Graziano - HER - HelenaVelena - Naif Herin - Hueco - Nine Tears + Gerardo Konte - Claudio Milan - Ottodix - Stefano Pais - Susanna Paris - Brushes Vermeer - Roby Rossini - Chinese Roulette - Porfirio Rubirosa - Steetycats - Diana Tejera - Vidra + Masi




[B CD1-2. GARBO - Scarabocchio

The best rare songs wanted by worldwide collectors and Dj of music jazz, funk soul.

More rare & nice jazz, funky and soul tunes for collectors in this chapter 4 edition !!!

On this again impressive, now third, Release, Daniel Erdmann, Samuel Rohrer, Frank Möbus and Vincent Courtois update their Swiss-French-German story. This band is serendipity. Its spectrum is broad and it focuses on the collective, rather than the self-promoting individual. It is good news that the band has been able to continue to develop its concept logically. At times luxuriously floating, then tremendously gripping again, always alert and artful and full of musical refinement. This concept invites the listener into open spaces, which are filled in a measured and thoughtful manner. The first two CDs had the floating quality of clouds in the title, as a beautiful metaphor for these sounds. In which composition and improvisation balance each other out. Grunge influences, can be heard, as can chamber-music-like cello, ebbing and flowing guitar Morse code, and emancipated percussion as a melody instrument. The saxophone can assume a rhythmic function, but also let loose earthily and, above all, this captivating band never passes the listener by.

Now it is about real utopias and the sound for them. It is not about whether the sound is called jazz, rock, pop or modern classic. This pales into insignificance against pure amazement at this far-reaching yet highly concise music. What counts is the group sound, which develops with amazing depth of focus, becomes ever more coherent, causing moods, nuances and details to lift off in a fresh way, yet without losing touch with reality. The elasticity of this web intertwined with drive and drama is enormous, the band organism has something magical. Rugged impressionism in an unmistakable use of form:

each participant has been celebrated in various contexts as an extraordinary instrumentalist. This music has this as a requirement, without having to exhibit it. In a wondrous way, the music defines the quality of more that only good art can create. It does not need to impose itself, as it is far too confident of its means. "Undreamed of tonal possibilities", commented one critic on the debut in 2011, another heard "unique, delicately compelling music" as "flights of fancy in various forms", as a

"happening", as "enormously varied group interplay. Earthy, rich in detail, rocky, contemporary". The listener is invited "to let their heart be warmed by the cool songs ". This is exactly what it's about.

The classic 1962 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls (...). Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical In a Sentimental Mood' and a soulful, half-lidded version of Billy Strayhorn's My Little Brown Book.' Ellington even supplied the brisk original Take the Coltrane' allowing plenty of room for Coltrane to let loose with knotty, angular lines.

The ever consistent KAT edit label reaches release number 19 with a 4 tracker from all round super ace DJ, selector and producer Mr Jonny Miller who has recently released via the GAMM label.

First up we have 'That's The Way Love Is', (yes that track we all know and love but certainly not the version you had in mind). Here Jonny takes the relatively unknown Xavier Naidoo version, does away with most of the original (apart from the vocal and the odd stab) to re-construct a mighty mid-tempo 4/4 House cut that's sure to delight and surprise in one fell swoop.

Next up is the Cesaria Evora classic, 'Angola'. Stripped back, subtly Housed up, basstone added with Cesaria's sweeter than sweet vocals, this just glides effortlessly along whilst staying true to the Latin /Brazilian ethics of the original.

Get your space suits ready as we kick the flip side off with the 1983 Electro monster 'Light Years Away' by Warp 9. Here we get a straight up re-edit which cuts, chops and extends to enhance this futuristic beauty to the hilt with almost a minute and a half of spaced out acapella goodness to boot!

Finishing things off nicely we have 'Cold Blooded (& down-right-funky)' by People's Choice originally released in 1976. A Funk / Soul number with a drum break bigger then Questlove's 'fro. Here, the break is the main focus which has been stretched and then stretched some more... Add some guitar licks, keyboard stabs and monster vocal goodness which results in a Funk edit that has more cheek than a Baboons bottom - You have been warned !!

DJ Support:

Bonar Bradberry, PBR Streetgang - STRAIGHT UP BADBOYS !!!! Will be hammering these !! Thanks guys 10/10

Tom Thorpe, PBR Streetgang - I'm ashamed to say this is my first real reaction, but can i just say 'I LOVE IT'. keep 'um coming...

DJ Pope, Baltimore, USA - Nice, will support!

Lexx, Switzerland - Angola is the one for me. I'll give it a spin.

Kev Beadle, SPW & SunCeBeat - Thanks for sending. On it already ;) Dropped the Xavier Naidoo on this weeks show - http://bit.ly/1fuCOUq

Mark Milz, Further In Fusion Radio, Germany - really liking the edits for "cold blooded" and "Light years away" !!!

Dr. Bob Jones, UK - Very smooth and very very good, quality productions.

Javi Frias, - Another great collection of edits by JM, my favorite is the really nice take on 'That's The Way Love Is'.

Stuart Patterson, Mi Soul Radio and Faith, UK - 'kin hell... top release.. never heard this Xavier Naidoo (will have to search out original) .. great selection of tracks from JM and nicely executed.. in the club, on the radio, in the bath...

Beane The Noodler, Nottingham, UK - *Adopts Danny Dyer voice* -

NAWTY NAWTY NAWTY. Liking the Xavier Naidoo edit and the 'Angola' rub is lovely. 'Light years' a great slice of future boogie too. Top work from the Miller as per usual. Another great package KAT :)

A rare 1966 trio recording by piano legend Dom Salvador. Features Edison Machado (drums) and Sergio Barroso (bass). Tracks include an uptempo version of Donato's 'Lugar Comum' ('Índio Perdido') plus 'Fred's Ahead', & 'Sambório'.
Dom Salvador, born 1938 as Salvador da Silva Filho, worked in a series of bossa jazz combos and professionally backed top-name artists such as Elis Regina, Jorge Ben and Edu Lobo. Almost all his songs were original compositions, showing Salvadors stately position in the Brazilian jazz brethren.

'when i joined mouse on the keys, i envisioned a concept that mixes diverse elements of contemporary music, such as dynamic hardcore drumming and modern french harmony with the feeling of a detroit techno follower.

since we got an offer to release an album on mule musiq - a label with much diversity in dance and contemporary music - our new album has been pulled out of us by itself' reveals the japanese acoustic and electric piano player daisuke niitome. together with drummer and piano player akira kawasaki and synth and piano player atsushi kiyota he is mouse on the keys - an energetic, hard to pigeonhole tokyo based trio that combines the sound of divers pianos and synthesizers with out-there drumming.

in their music locomotive us-american hardcore rhythms and virtuosic post-rock grooves dance fearless with jazz, contemporary classic and shreds of electronic music. since their foundation in 2006 the band has release three acclaimed albums on labels like the japanese imprint machu picchu industries or demanded german denovali records and toured live around europe, canada, brazil and asia.

as their main influences the musical libertines name a miscellaneous range of labels, artists and bands like on-u sound, burt bacharach, claude debussy, bad brains, kreator, material, johann sebastian bach, beastie boys, napalm death and steve reich. all of them left their traces on their third album 'flowers of romance' - an irrepressible amalgam of spontaneous ideas and precise written harmonics.

Classically trained composer and contrabass player expands on his work with James Ginzburg on 'Nimbes' and his analog tape work as KETEV (Opal Tapes, Where to Now) with a record exploring the hidden resonances of the contrabass.

For more than ten years Soul Jazz Records have been exploring and documenting the sound of New Orleans Funk. Now they turn their attention to the flipside of this musical coin - New Orleans Soul.
These two musical forms share a lineage that begins with the city's enormous rhythm and blues explosion in the post-war 1940s and 1950s. New Orleans Soul incorporated the soulful vocals of the gospel church, the driving beat of rhythm and blues, as well as traces of the second-line parade bands and the latinized rhythms of the city.
Here you will find New Orleans soul in all its glorious variations - from the deep, deep soul of singers Aaron Neville, Willie Tee and Robert Parker to the storming northern soul of Maurice Williams and Eldridge Holmes, the funky soul of Eddie Bo, Lionel Robinson and Ernie K-Doe all alongside the Crescent City's finest soul sisters - Irma Thomas, Betty Harris, Jean Knight, Inell Young and more!
The main force behind New Orleans Soul is Allen Toussaint, a virtual one-man hit-making machine in the 1960s, writing, arranging and producing hit after hit for an unending list of unbelievably talented local singers such as Eldridge Holmes, Maurice Williams, Betty Harris, Ernie K Doe and Diamond Joe all of whom are featured.
New Orleans is also a city of great musical families. Vocalist Aaron Neville was the brother of Art Neville (who formed The Meters) and later in the 1970s joined with brother Cyril to form The Neville Brothers. Soul vocalist supreme Willie Tee is also known as Wilson Turbinton, who alongside brother Earl, formed the super-heavy funk band The Gaturs and backed the Mardi Gras Indian group The Wild Magnolias.
Also included here are rare, lost and killer soulful tracks from New Orleans artists Eddie Bo (and protégée vocalist Inell Young), Jean Knight, Jimmy Hicks, Francine King and more!
This album tells the story of New Orleans Soul and comes complete with extensive sleevenotes, exclusive photography, supreme sound quality and comes as deluxe CD with slipcase + outsize booklet, and super-heavy, super-loud limited-edition double vinyl album + download code.














[N} c4 Irma Thomas - She'll Never Be Your Wife (2.54)

This soundtrack is not only an aural companion to Low Down-the acclaimed biopic of jazz pianist Joe Albany, based on the memoirs of his daughter Amy-Jo Albany-but also the perfect primer for Albany's lifework. Comprised of Albany's own compositions alongside those of Coleman Hawkins, Max Roach, Thelonious Monk, and selections from Ohad Talmor's score, this album conjures both a feel for Albany's own avant-garde, quick-tempo, bebop jazz and a mood that evokes the life of Hollywood's notorious jazz hustler.

Internationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior.

EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.

2014 has been a breakthrough year for Brussels-based De Biasio, who was recently announced the winner for Belgium of the 2015 European Border Breakers Awards (EBBA), which celebrate the best new pop, rock and dance acts in Europe which have achieved cross-border chart success. Other winners include Hosier (Ireland), MO (Denmark), Milky Chance (Germany), and Todd Terje (Norway).

No Deal received 4 star reviews from The Guardian, Mojo, and Record Collector, with Hi-Fi Plus awarding it 10 out of 10, saying "I think we have the album of the year on our hands." Her most recent single I'm Gonna Leave You was playlisted at BBC 6 Music, and last month De Biasio performed on Later...With Jools Holland, BBC2's flagship music show, becoming the first Belgian artist to be invited on the show since 1995.

Sarp Yilmaz. The turkish producer teams up with apparel. 'Electronic Music Artist From Istanbul... I like to do stuff like doing records and spinnin them.Some people take interest in what I do, This is what this is all about. ' So self-describes Sarp Yilmaz , apparently not being fond of talking in big letters about himself . We on the Apparel team however are aware that Osunlade talks of him as the best new Artist on his Guardian interview, that Maya Jane Coles drops his tunes on Pete Tongs Essential Selection, that he's been charted by many top Djs and Artists ( Stacey Pullen,Osunlade , Bill Patrick, Dapayk, Marco Resmann, Niederflur to name a few) across the globe, that his tracks are chosen Track of the day on Beatportal, his stuff is 2 times bestseller on Whatpeopleplay charts and his tracks pops on every important podcast lately, be it a Cadenza podcast or Compost Black sessions.Recently released his debut albumon Apparel music that climbed the charts on all major stores, reaching pole position on WPP charts again ,he's been praised now for his unique take on House music by many , and now is at service to everyone who likes his,her House with a little bit odd Flavour and open mind.

In the fall of 2011 DÞJ recorded a session and a solo concert in Telus studios, Banff centre in the Rocky mountains of Canada
These recordings have come to be Piano Improvisations II.

In and around Banff are magical places.
They are ancient, huge, quiet and some are sacred.
Being surrounded by the enormousness of the rockies makes one very small and wander off sometimes for many hours gazing at the endless beauty and power

Lake Minnewanka means "Water of the spirits" in Dakotan Siouan language.
Aboriginal people long inhabited areas around Lake Minnewanka, as early as 10,000 years ago.
You can still feel the spirits there...
Some of the music is a dedication to that invisible power and being of human energy

This is the second album of the piano solo improv series.

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on Fletcher Moss Park and When The World Was One drawing on Eastern influences in his most personal statements yet. But perhaps the most profound influence on Matthew Halsall is the spiritual jazz of Alice Coltrane and this 12" finds Matthew exploring her music with an all-star band performing two of her best known compositions: Journey in Satchidananda and Blue Nile. Featuring Matthew Halsall trumpet, Lisa Mallett flute, Rachael Gladwin harp, Taz Modi piano, Gavin Barras bass, Gaz Hughes drums and Nat Birchall percussion. Originally recorded for BBC Radio at the legendary Maida Vale Studios and broadcast on Jamie Cullum's show they are released here for the first time on vinyl and download.