Pop & Rock News

When it comes to making available once more lost, forgotten and overlooked soulful masterpieces, our expertise is considered second to none. It's all about finding the artists and reconnecting them and the fans to their forgotten history. DJ Fryer has been researching this album of dancefloor soul from the late '70s and early '80s for the last four years, and we're finally able to present a double LP's worth of rare, obscure and GOOD dancefloor soul, rare boogie and soulful disco. To top it off, Ashley Beedle and Tom Noble offered up their ...

It's well known that throughout the 20th century, fed up with poor working conditions and racism in their home country, many American jazz musicians chose to leave the US in order to live and work in Europe. What's less well known is how their music developed and evolved during their time on the continent, and how the experience of being a musician in Europe was to shape their respective lives.

Over the years countless jazz concerts, festivals and recordings featuring American jazz musicians have taken place all over Europe, yet it's remarkable how few of these musical artifacts have been evaluated by the jazz community. We seek to assess the European experiences of the American jazzmen, with a specific focus on the progressive sounds of modal jazz and the avant garde. We examine the recordings made by those who crossed the Atlantic just to take in a short tour, as well as those who made more frequent trips, and of course those for whom Europe ultimately became their permanent place of residence.

*** Coloured Vinyl in a Picture Sleeve!***
»Aquarium Eyes« ist das zweite Album des österreichischen Duos Ritornell. Ihr Erstling »Golden Solitude« erschien 2009 ebenfalls auf Karaoke Kalk. Akustische und elektronische Klänge verschmelzen auf »Aquarium Eyes«. Aufnahmen, die mit viel Liebe zum Detail (unter anderem im Studio von Patrick Pulsinger) entstanden sind, werden behutsam in den Ritornell-Klangkosmos eingewoben. Durch subtile elektronische Verfremdungen entwickeln Instrumente wie Klavier, Kontrabass, Vibrafon, Kalimba und Akkordeon ein überraschendes Eigenleben, um sich Momente später im Zischen und Fauchen elektronischer Gerätschaften aufzulösen. Unterdessen werden sie umspielt vom Funkeln mehrschichtiger elektro-akustischer Drones. Einzelne organische Geräusche und sublime Texturen komplettieren die detaillierten Arrangements. Für »Aquarium Eyes« hat Ritornell erstmals Songs geschrieben: Die Wiener Künstlerin Mimu singt, flüstert und haucht rote Fäden durch manche der fragilen Klangkonstrukte, die Gerold und Eigner mit Fingerspitzengefühl zusammengesetzt haben. Für das Stück »Tremble« hat sich das Duo mit dem Vokal-Künstler Didi Bruckmayr zusammengetan. Der Track »Music Box« ist ein Konzeptstück: Dirigiert von Richard Eigner drehen 20 Personen gleichzeitig an ihren Spieluhren. Aus den Melodien der Musikgeschichte wird dabei ein funkelndes Gewirr. Mit »In Every Dream Home A ÊHeartache« hat sich Ritornell schließlich auch an eine Roxy Music Coverversion gewagt, wobei an die Stelle der Gitarren ein Streichertrio getreten ist. Live präsentieren Richard Eigner und Roman Gerold ihre Musik zusammen mit Mimu und Gerhard Daurer, gelegentlich auch verstärkt von Bernd Klug am Kontrabass und Meaghan Burke am Cello.

- Although this is already our third album, recording it felt like something really fresh.' The Hi-Fly Orchestra are excited when they talk about their new long-player - Get Ready'. They have all rights to do so, with 12 original tracks covering a wide range from funk, brazil, soul and jazz always in view of the groove: - We are no scientists, we are not on a mission. We are here to make you dance.'

Strut complete a duet of rare italian library reissues for Records Store Day with the 1979 concept gem "Desert" by composer / arrangers Antionio Vuolo an Elio Grande, originally released on small Italian label, Cardium.
Using early electronics and setting a drifiting, cosmic tone throughout, the album regularly recalls early Tangerine Dream and features some intricate composition work. Tracks include the gorgeous, haunting slo mo breakbeat "Leaving", mellow-electro-scape "Transvesuvian" and the solid jazz fusion jam "Take Flight". For Record Store Day 2013, Strut reissue the full album, mastered from the original reels for the first time since it's original release. Artwork comes fully restored from the original lithographs.

Musicians:
Antonio Vuolo: Mini Moog, Fender Rhodes, Piano Steinway, Clavinet, Vibraphone, Hammond B3
Rino Diaferio: Fender Stratocaster, Martin, Ramirez, Fender Precision Bass Elio Grande: Jazz Fender Bass, Guild Ramirez
Gege Munari: Percussion

Ulrich Drechsler präsentiert seine wunderbare Jazzkombo Café Drechsler (ausgezeichnet 2005 mit einem Amadeus Awards) im völlig neuen Stil. Ulrich Drechsler, David Helbock, Philipp Jagschitz, Patrick Zambonin und Christian Eberle spielen nun hochqualitativen Electronic-Jazz-House, und orientieren sich dabei am Status Quo der elektronischen Musik und ihrer Formensprachen: Breakbeats, Neuro, Drum'n'Bass, Dubstep, Minimal & Detroit Techno, und Liquid Funk.

Die ursprüngliche Rollenverteilung der unterschiedlichen Instrumente ist in diesem Kontext komplett aufgelöst. Drechsler ist vielschichtiger, zeitgemäßer und spannender geworden, ohne dabei das ursprüngliche Ziel aus den Augen zu verlieren - das Publikum zum Tanzen zu motivieren. Dieses Album ist eine starke Mischung aus Jazz- und Tanzmusik, und spricht dadurch nicht nur das traditionelle Jazzpublikum, sondern auch die Fans hochqualitativer Clubmusik an.

At one point he put a microphone in a metal cup and tapped the insides of it for five minutes or so; with digital delay, he built up a combined clicking rhythm that felt like 6/8, then scraped the microphone against the metal to get a dentist-drill whine. At another, he turned a saxophone tone into the sound of chimes or cracking ice, and, later, bagpipes or an animal roar. And after about 25 clean and questing minutes, he was done." - Ben Ratliff - The New York Times"The saxophone colossus is dead; long live dispersion: bathed in distortion presets, born from the echo chambers of intention and our assumptive technologies. At the very least, the era of ego solidification that characterized the saxophone community of decades past has long unraveled. And in its place, decades after Peter Brötzmann opened fire on the tenured idiom of the sax, comes the era of Diamond Terrifier's genre disassociations." - Tiny Mix Tapes"Under the nom de plume Diamond Terrifier, the sax-slinging Hilmer composes a storm of apocalyptic skronk waves of both face-ripping and hypnotic proportions." - The Village Voice*DIAMOND TERRIFIER is musician, DJ, artist, curator, Sam Hillmer. Diamond Terrifier is Sam's saxophone and electronics solo incarnation. Diamond Terrifier sits at the intersection of ambient drone, world bass and sound system music, and the many great non western saxophone traditions!

"At one point he put a microphone in a metal cup and tapped the insides of it for five minutes or so; with digital delay, he built up a combined clicking rhythm that felt like 6/8, then scraped the microphone against the metal to get a dentist-drill whine. At another, he turned a saxophone tone into the sound of chimes or cracking ice, and, later, bagpipes or an animal roar. And after about 25 clean and questing minutes, he was done." - Ben Ratliff - The New York Times"The saxophone colossus is dead; long live dispersion: bathed in distortion presets, born from the echo chambers of intention and our assumptive technologies. At the very least, the era of ego solidification that characterized the saxophone community of decades past has long unraveled. And in its place, decades after Peter Brötzmann opened fire on the tenured idiom of the sax, comes the era of Diamond Terrifier's genre disassociations." - Tiny Mix Tapes"Under the nom de plume Diamond Terrifier, the sax-slinging Hilmer composes a storm of apocalyptic skronk waves of both face-ripping and hypnotic proportions." - The Village Voice*DIAMOND TERRIFIER is musician, DJ, artist, curator, Sam Hillmer. Diamond Terrifier is Sam's saxophone and electronics solo incarnation. Diamond Terrifier sits at the intersection of ambient drone, world bass and sound system music, and the many great non western saxophone traditions!
1 SHRINE FLU
2 TWO WITNESSES
3 TRIPLE GEM
4 THE SUBTLE BODY WEARS A SHADOW

Easy Does It is the eleventh solo album by Isabelle Antena, originally issued in 2005. Produced by Isabelle and Denis Moulin in the south of France, Easy Does It was her first pure bossa record, featuring nine new original songs as well as interpretations of classics by Henry Mancini and Antonio Carlos Jobim.
*It remains one of her most popular albums. Says Isabelle: 'The first song I recorded, The Boy From Ipanema, was a bossa track, and on every album since I have included a bossa number. I've always been very close to Latin music, maybe because I'm Mediterranean myself. The title of the album also describes my nature, and anyway I'm proud to create and listen to so-called 'easy listening' music. Having said that, some of the songs have also been missed by young DJs from around the world.'
*Bonus disc Issy Does It features eight pin-sharp remixes by luminaries such as Thievery Corporation, Buscemi, Nicola Conte, Yukihiro Fukutomi and La Malice.
 
Full Tracklist:
Disc 1:
1. Nothing to Lose 2. Moonlight Dancer 3. A Rainbow (Can't Be Forever) 4. O Sapo
5. So Tinha De Ser Com Voce 6. Omerta Bossa 7. Stars 8. Your One and Only
9. Easy Does It 10. Aguas Calmas 11. Fresh 12. Obrigado 13. La Pécheresse à la ligne
14. Sweet Kiss
 Disc 2:
1. Nothing to Lose (Thievery Corporation Mix) 2. Omerta Bossa (Nicola Conte Mix)
3. La Pécheresse à la ligne (Buscemi Mix) 4. Easy Does It (La Malice Mix)
5. Fresh (Yukihiro Fukutomi Mix) 6. The Star System (Dr Drak Mix) 7. Your One and Only (Musiq for Pleasure Mix) 8. Spirituosi (Este Samba) (Shape Mix)
 

*Hoping for Love is the second solo album by Isabelle Antena, originally issued by Les Disques du Crépuscule in March 1987.
*After Camino Del Sol and En Cavale, Hoping for Love saw Isabelle Antena step left of the dancefloor, expanding her Latin, funk and samba palette to include jazz and acoustic styles. With the originally vinyl running order now restored, the first five tracks offer dance and synth pop tracks, while the second half of Hoping for Love is a suite arranged and produced by Isabelle herself, and featuring crack jazz musicians such as Danny Cordova and Johnny Hot.
*This new digital re-master features five bonus tracks, including 12' mixes by Marc Moulin (Telex) and Mark Kamins (Madonna). The artwork is by Hitoshi Tagata.
Tracklist:
1. Des Calins, Des Caresses 2. Laying on the Sofa 3. Naughty Naughty 4. Sweet Boy
5. La Tête contre les murs 6. Le poisson des mers du sud 7. Quand le jazz entre en lice
8. Melodie 9. L'Ideal 10. Musique de 4 à 6 11. Toutes les etoiles de Tunisie 12. Otra Bebera
13. Carriage Blind 14. I Will Jam 15. Little Fish from the Southern Sea 16. Laying on the Sofa (Mark Kamins Remix) 17. La Tête contre les murs (Marc Moulin Remix)

DJ Paulão (Sao Paulo) compiles this great document on samba rock from the golden years of Brasilian music (1966-1978).
This compilation gathers two influences of alternative brazilian musical references - Samba Rock and Brazuca. The focus begins in the mid sixties through to the late seventies, from the decline of bossa nova until the explosion of the disco scene.
The Samba Rock movement, as related to black urban culture, goes back to the origins of the DJ in Brazil, particularly in the São Paulo banlieue in the mid-fifties. With the introduction of valves and hi-fi technology, the sound system became more accessible, and the first parties began to spread. In the late sixties they grew in quantity and audience, and the repertoire, so far dominated by international jazz, rock and swing, became nationalized, thanks to a new style of samba brought to the people by the great Jorge Ben.
In the mid-nineties, the re-discovery of the Racional phase of Tim Maia brought new music and artists to light, inspiring DJs to dig deeper for obscure grooves, made in Brazil in the sixties and seventies. What they had in common was the groove, from samba to funk'n'soul, from psych to afro. Together with the Samba Rock scene, the Brazuca wave brought attention to unknown musical gems, in Brazil and abroad.
Soon they started to take the dance floors with great success! The Brazuca scene was coming! They brought old artists back to the stage, putting names like Gerson King Combo, Arthur Verocai, Banda Black Rio and Arnaud Rodrigues back in the limelight, and sending the price of these records through the roof. These two scenes are still very lively in the São Paulo musical landscape, and to this day it's possible to find undiscovered gems, hidden deep in the banlieue.
DJ Paulão from Sao Paulo, combines the best of both worlds on this compilation. It features 12 rare tracks by the likes of Di Melo, Vera Lucia, Marisa Rossi, Giovana, and many more... A true must have for fans of Brasilian gems!

Portuguese composer and pianist Tiago Sousa is at the forefront of modern piano driven minimalism.
*Sousa has performed throughout Europe and will continue to perform live throughout 2013 in support
*Samsara is Sousa's first solo piano record. Previous albums always featured Sousa on piano accompanied with other players, but Samsara allows his amazing piano playing to shine on it's own.
*Samsara was mastered and cut to vinyl by Andreas (LUPO) Lubich at D&M in Berlin

The Hi-Fly Orchestra has always been a real band, right from the
start in 2005. They love vintage recording techniques, all their
gear crammed in one room and getting the music on tape in a jam
session situation. The opening chords of - Uncle Green' already
prove the point. 'Get Ready' is a journey in style. Think of Lonnie
Smith's immediacy and rhythmic urgency circa - Move Your
Hands', the casual spirituality of Horace Silver with a hint of Lee
Dorsey's style of turning rhythm & blues into soul, even Vince
Guaraldi's versatile, comforting jazz sound is somewhere in 'Get
Ready'.

Supercar lover and showman Jay Kay started Jamiroquai in Manchester during the early nineties, seeing their debut Emergency On Planet Earth receive massive amounts of critical and public acclaim. Backed by an incredibly tight band, Jamiroquai delivered a Stevie Wonder-esque brand of highly infectious and addictive Funk with a capital F. So infectious in fact, it became a Pop staple almost overnight. Having amassed a huge fanbase in the UK, the popularity of this horde of planet savers spread worldwide over their subsequent two albums. Music
On Vinyl is proud to release these first three albums simultaneoulsy, including follow-ups The Return Of The Space Cowboy MOVLP730 and Travelling Without Moving MOVLP731. All three with remastered audio for maximum aural pleasure!

Fantastic and rare debut LP of Italian jazz pianist as first re-release, recorded 1974 at the Fontana Studio in Milan for the small label Dynia World. Trio featuring Mario Rusca (piano), Franco Cerri`s son Stefano Cerri (electric bass) and Gianni Cazzola (drums). Fascinating Modern Jazz & Post-Bop album with shimmering sound colours and unique versions of Ron Carter's "First Trip", Monk's "Straight No Chaser" or "Blue In Green" and "Waltz For Debby" by Bill Evans. Newly mastered for superior sound, with original artwork and sleeve notes as a 6-Page Digi-CD / Limited Vinyl LP / Download.

Mario Rusca made the first experiences years ago with a lot of performances in trio. From 1971 to 1974 Mario had a long collaboration with the famous violinist Joe Venuti. "Reaction", finally reissued by Sonorama Records on CD/ LP/ DIGITAL, is his first album produced by Dynia World Records in 1974, performed with Franco Cerri`s son Stefano Cerri (el-b) and Gianni Cazzola (dr) - a long forgotten but definitely outstanding and fascinating modern jazz & post bop LP.

Original sleeve notes by Franco Fayenz (1974):

Jazz in Italy is about to rocket like a whizz kid, thanks mainly to the young crowd that is admiring the rock-tinged side of Black America's music. Italy's own jazz production though, is still caught in quite serious problems. For a considerable amount of time the in-crowd critics have determined the reasons behind these problems. They can be summarized as follows: a delayed start in comparison to other European countries, the scarce musical education in Italy, the indifference of mass media, but also the hurtful behaviour of certain journalists, who are always willing to mention that the worst Jazz in the whole of Europe is played in Italy.

Rather, it is true that the really good Italian Jazz musicians are few, which is easy to understand by looking at what it says above. It is not very likely for musicians to step back and to live like ascetics to be able to play Jazz. On the other hand, to play Jazz as a part-time occupation and having to share it with playing light music or other activities, inevitably sets limits. Jazz needs practice, one needs to work with it on a daily basis, making it become a habit. In order to reach this level of intimacy, one needs to have a well-defined cultural background and a solid awareness of the direction things are going to in our times.
That this is the first release by the courageous pianist Mario Rusca, born in Turin in 1937, and thus not that young anymore, can only be explained (and not justified) by circumstances such as described above. But there's more to it. Though I really strive to support Italian Jazz and to discover new talents, often by going against the tide, I hadn't yet heard the name of Mario Rusca three years ago. It was Joe Venuti who introduced me to him in the spring of 1971, while he was staying in Milan for some time. Venuti had arrived in Italy together with pianist Lou Stein, and he didn't have any difficulties in finding good double-bass players and drummers to play with him. A problem aroused though when Stein decided to go back to the States alone. The search for a new pianist proved to be more difficult, but the old violinist finally spotted a shy and reserved person, who at the time was playing at the Capolinea every night, a club which can be found in an outlying district of Milan. That was Mario Rusca.

The first time I had the opportunity to listen to him was during a concert of Venuti at La Fenice in Venice taking place on May 9th, 1971. I was especially impressed by his musical craftsmanship as well as his rich and bright ideas. His style was evidently not oscillating between traditional and classic as the collaboration with Venuti might have indicated. He rather knew how to adapt himself to those styles. On the other hand he was able to define his own style, which is more modern, highlighting an enviable technique, and combining that certain something of a soloist and a confident taste. Since then, there have been numerous occasions where I had the chance to review Mario Rusca's skills at the Jazz Power Club in Milan. He performs as solo artist, but also accompanies famous American musicians touring Italy. His collaboration with American singer Bunnie Foy who compelled him to spontaneously change between spirituals, Flamenco and Modern Jazz, can be named as one example.

A super-limited release for record store day, the Jukebox Jam series presents a very special 45rpm vinyl triple pack of unissued masters from the legendary, sensational harmonica boss, Dr Ross. Featuring six down home, primitive blues killers recorded at Sam Phillips' legendary Memphis recording studio between the years of 1951-4. Plucked from the same sessions which spawned landmark recordings such as 'Boogie Disease' and 'Chicago Breakdown' - momentous mid-century earth-shakers of post-war, pre-rock and roll rockin' blues boogie - each of the six tracks here reaches the same level of ethereal intensity.
Never before released on 45rpm vinyl, these three singles feature the original Sun label artwork (used with permission), and come packaged in a custom-made, hand-numbered case featuring unique artwork and sleeve notes. Sure to be an instant collectors piece to Dr Ross fans, Sun devotees, blues enthusiasts and pure music lovers everywhere - limited to 500 copies only...

OK there are not many artists who have had such a hugely influential and broad career as Ray Charles and many of his tunes have been covered for the detriment of betterment of a hundred different styles. Well here at Jazzman we always like to find little gems hiding in plain sight and here we have two beauties that are exactly so. One answer and one reimagining of the classic 'I Got a Woman' - both super fun dancefloor versions. Let's start with the Annie Williams, practically unknown apart from within the deep soul record collector circuit, this version is stronger on the dancefloor than even the Ray Charles original, with its stronger backing and rawkus r&B style vocal it smashes any dancefloor! One for the ladies (so I'm told!)

On the flip we have Bronx-born girl group Baby Jane & The Rockabyes (Madelyn 'Baby Jane' Moore, Yolanda Robinson, Yvonne DeMunn, Estelle McEwan) doing their girl pop interpretation of another classic from Ray. One of the busiest backing session groups in New York City of the period they released 15 singles in their career and were backing singers for Baby Washington on her early Neptune singles, two sides of which we have coming up on Fryers very soon.

Already Drowning, a song-cycle inspired by various myths & folktales about female water spirits, marks something of a departure for Aidan Baker. While still retaining his trademark sense of ambience & texture, the tracks on this album are much more structured & song-oriented, embracing a minimalist post-rock, slowcore style & featuring a different guest vocalist on each track. Guest vocalists: Clara Engel, Jessica Bailiff, Valérie Niederoest & Maude Oswald (of Toboggan), Joanna Kupnicka, Geneviève Castrée (aka Ô Paon), Liz Hysen, Carla Bozulich (of Evangelista, The Geraldine Fibbers). All words & music written by Aidan Baker (guitars, bass, flute, drums, trombone, piano, & field recordings), vocal melodies & interpretations/translations by respective singers. Additional musicians: Leah Buckareff (of Nadja - accordion), Laura C. Bates (violin), Nick Storring (of Picastro - cello), Carl Pace (of Beta Cloud - trumpet), & Laura Rodie (alto & soprano saxophones).

The first release of a new 7' series by Schema Records.

Here we have finnish jazz superstar Timo Lassy who delivers a fitting introduction to his band's current sound, an introduction to his forthcoming album 'In With Lassy'.

The Timo Lassy Band performing here is top-notch all the way. The wurlitzer duties are carried out by Georgios Kontrafouris, Greece's gift to the Helsinki scene, who turns the instrument into one of a vital organ in the operation. On double bass, the most sought-after Finnish bassist at the moment, Antti Lötjönen, keeps things solid, and the crunchy beat so central to Lassy's rhythmically remarkable jazz vision is safe with Teppo "Teddy Rok" Mäkynen on drums and Abdissa "Mamba" Assefa on percussion. Assefa was also part of the production team of the album, recording it at the quintet's Helsinki rehearsal pad and producing the end results together with Mäkynen and Lassy.

Xaver Fischer, bass player Krischan Frehse who is part of the TV Total Studio band "Heavytones" and Roachford's drummer Hendrik Smock, went to the Maarwegstudio in Cologne with basically no precise ideas for songs. The songs essentially developed from spontaneous jam sessions. After two (!) incredibly creative days the band wrapped up their sessions with eleven brand new tracks. While recording they followed their own set of rules:

No Sequencing
No Quantize
No Loops, No Overdubs
No More Than Three Takes
No Digital Editing
No Clicktrack
No Recording Of Things You Can'T Perform Live

The glorious result is an album that shows the typical Xaver Fischer Trio sound topped with an unmistakably fresh new breeze. The Trio worked with elements of Afro beat, jazz-rock and even the current dance music of a David Guetta found its way onto the album.

Sale Out - be fast
The Imagine Project, which will be a film as well as a boundary-busting album, finds him traveling all across the globe to collaborate w/ an international roster of artists. F/ Anoushka Shankar, The Chieftains, Ceu, Chaka Khan, Juanes, & Jeff Beck.

Armageddon was conceived in 1958 and written down in 1963. After performing with Sun-Ra and benefiting from the teachings of the Honorable Elijah Muhammad, Phil Cohran's compositions changed decidedly, and he began to focus on cosmology and culture. This particular performance was recorded live at the Afro Arts Theatre at 3900 S. Drexel, Chicago, IL on February 11th, 1968. Here is how Kelan Phil Cohran explains each of his compositions on Armageddon: THE MOTHERLESS CHILD - is one of the oldest melodies known to the human family. There is evidence that the Chinese, Peruvians, and several African cultures claim it as their own indicating that it came from an ancient time when all these nations were one. Rev. Spencer Jackson delivers the slave version of this melody and his wife, sister Ella Pearl Jackson delivers the version from ancient dust and enlightened future. Motherless Child is one of the greatest examples of cosmic language. CREATION OF THE BEAST - in the long, long ago, a very enlightened people of a far away galaxy experimented with correcting mutational deficiencies. These experiments went awry and resulted in mental problems. The Elders recommended collecting the entire deficient breed and transplanting them in a far away galaxy. The sentinels were sent out to find a place and decided that our earth was the best candidate. So the experimental people were gathered and sent to this new home. The only problem was that the earth was closer to the sun and therefore warmer than they were accustomed to. They determined to place the colony in the mountains of earth where the temperature was more bearable and given the keys of rulership over the natives. The cosmic principal of enlightenment begins with #7. so the 7 meter was used as an indication of knowledge. The music demonstrates the cosmic order being improperly imposed on all facets of our environment. THE WARNING - In 1945, the first atomic bomb was detonated in Hiroshima, Japan and this caught the attention of the enlightened people. Eventually, the subjugated people of earth began to explode from within and protest through various means effectively. This brought on demonstrations, rejection, and eventually riots which is the focal point of our conflict. It was determined that the experimental people had discovered ways of getting off the planet and into cosmic space. However, because they were not living according to cosmic law the sentinels were concerned that these people would disrupt the cosmic balance and affect the harmony of the cosmos - The soloists are painting musical pictures of the condition of unrest. Eugene Easton and Charles James Williams are the primary contributors. THE WINDOW - The advanced nation who originated this problem sent the sentinels (UFO's) back to observe the condition of the experiment. What they saw were large population centers with negative influences and disruption. This brought about a very cautious approach to exercising their responsibility. They observed all of the population centers during the solstice and the equinox to see if any of the people were intelligent enough to understand the mathematics of their position in the universe. They also listened to the music to see if the people had declined or been enriched. Finally, they made the decision that the surface of the entire planet should be altered through magnetic applications of the sunspots. The frankiphone represents time itself and the musicians interpret the various moods and concepts that developed as a result of the riots and attempts to suppress the opposition. The soloists represent the various energy fields that are produced as a result of the conflicts. ARMAGEDDON - This act brought on unbearable climactic changes, earthquakes, and cosmic collisions. The people had to reform to the basic tenants of cosmic law for survival. Those who accepted the original concepts survived and those who continued to deteriorate were destroyed on both sides of the ledger. Therefore, those people who survived brought back peace, harmony, beauty, love and respect to the earth.

The Spanish Suite was written to magnify the contribution that Moorish Spain made on the European Rennaissance. The relationship of music to cosmic rhythms and harmony was altered from the original state of Spanish music, and eventually distorted down to the 12-tone equi-temperment system of tuning. The Artistic Heritage Ensamble was taught to play outside of the 12-tone system and to recognize natural tone relationships. The musicians had to be dedicated to music for life in order to reach the level they obtained. ìThe Spanish Suiteî represents the median effort in returning to our original music. It was written in 1965 and first performed in December of that year at an AACM performance at the St. John Grand Lodge located at 7349 S. ingleside in Chicago. This particular performance was at the Afro Arts Theatre at 3900 S. Drexel in February of 1968

Actually, a split release between Paul Hill and Nikki-O. Two sides of warm, intimate vocal house music. Tip!!
Paul Hill's side is a midtempo cut with sweet playing between main vocal and background vox. The Nikki-O side is more uptempo and has an affectuous bassline supporting the track.

These 2 tracks represent ideally the album's musical journey, from Soul, Rhythm'n'Blues, Funk and Jazz in a smooth and refined blend.
"The Letter", a famous '60 hit, was inspired by Willie Hutch and Al Green's versions, but here we have the complexity of the black roots rhythm mixed with a vocal line more similar to European artists such as Jamie Cullum.
"Big City" is a ¾ timing Jazz tune, arranged in the usual Schema style and reminding a bit of the live version by Cannonball Adderley sung by Ernie Andrews.
Andrea has been playing southern France, Italian, Austrian, Dubai and New York's clubs for years, piling up experiences and shaping his voice around evergreen classics.
Now he feels it's time to record some of this vast repertoire, and to do so he's chosen Schema Records. The recording session featured three finnish guys from the acclaimed Five Corners Quintet, we're talking about Teppo Mäkynen, Jukka Eskola and Timo Lassy who delivered great sounds and vibes.

BRZZVLL keep on tripping. "Polemicals" is taking the psychedelic jazz groove that the six piece band from Antwerp, Belgium is known for to the next level. It is still impossible to find the right box for BRZZVLL though. Jazz is the teacher but band leader Vincent Brijs and crew couldn't care less about rules and regulations. From the epic, arabic flavoured opener "Jericho" to the sweet and deep ballad "Reino Dos Ceus" BRZZVLL simply do what they want. Most times you can dance too to it and all the time you can trip with it.
Compared to their 2010 album "Happy Live Creator" (produced by Ben Ladmin aka Nostalgia 77) the new BRZVVLL album has more of a live feel. Which is owed to the fact that "Polemicals" has been recorded at the Kip Kass studio, owned by the band's keyboarder Jan Willems in Mortsel and produced by the band itself. In that aspect, "Polemicals" captures the sensational live performances better than any BRZVLL record before.

Shango by Peter King is an album loaded with history. Originally recorded in 1974 in a Camden studio session funded by money from a TV soundtrack recorded by King a few years earlier, it remained unreleased for close to 30 years despite King releasing five albums in the years that followed, the band touring America, Europe and Japan and King establishing himself in the West as one of Nigeria's finest multi-instrumentalist. It finally saw release in 2002 by which point King had returned to his homeland to found the Peter King College of Music and continue his lifelong dedication to seeing 'how far I can go with Highlife fusion.'

Musically the album is equally loaded. Headed by King, who wrote and played saxophone and flute, the band included David Williams on bass, Paul Edoh on congas, James Menin on drums, Arthur Simon on guitar, Mike Falana on trumpet and Humphrey Okoh-Turner on alto sax. Together they fused funk, jazz and afrobeat and added hard-hitting vocal messages including calls for freedom in Africa - album closer Watusi is about the struggle for freedom and democracy in Angola during the 1970s - and references to African history and the Yoruba religion. Shango is the foremost Yoruba deity, god of thunder and storms, and on this album his energy is clearly channelled into the horn lines and devastating grooves found throughout the eight tracks.Having stood the test of time for close to 40 years, Shango is a lost classic and one of King's finest, most refined works. It is being re-issued by Mr Bongo's Classic African Recordings series.
The LP features fully reproduced original artwork and heavyweight 180 gsm vinyl.

A relaxed effort in the vein of the classic 'cooking session' tradition of modern jazz.
That is, the band came in, took hold of the new tunes penned by Lassy and his trusty drummer/producer Teppo 'Teddy Rok' Mäkynen, and fired on all cylinders.
The result Some of the most swinging no-nonsense in your face and under your feet jazz you'll likely to hear this year or during most of the others.
No gimmicks needed here, this jazz is cooking.

Already familiar to fans of Freestyle Records acts Frootful and Lack Of Afro after supplying her memorable voice to tracks by both, as well as working with masters of the mellow; The Ambassadors Of Sorrow, Angeline Morrison's ability to craft subtle, yet very catchy melodies infused with folk, bossa nova, R&B and jazz rhythms and textures ensures her music sounds fresh, engaging and highly original.

Now signed to Freestyle Records as a solo artist in her own right, the music that Angeline creates has an ethereal, other worldly quality, due in no small part to the wide ranging styles and influences that inform her highly individual, quirky, song writing and vocal abilities. Stir in elements of 60s torch song style, hypnotic, exotic and eclectic melodies, and you begin to understand the myriad of musical textures Angeline blends into a homogeneous soundscape.

Opening track, The Looking Dance, sets the mood, and places itself somewhere between the folky jazz of Ben Sidran and the jazzy folk of acts like Pentangle - a beautiful, memorable melody is augmented with brushed drums, flute and shimmering harp. In contrast, the title track, Are You Ready Cat, is a toe tapping, 60s style pop-soul groover with swinging strings, sax and some indispensable glockenspiel!

The album, Are You Ready Cat, spans the sounds of built up lush, exotic, hip bossa nova numbers that transport the listener to somewhere very south of the equator, akin to the sounds of Stan Getz/Astrud Gilberto recordings of the early 60s, as well as ethereal folk-jazz sounds. It also contains touching and introspective elements that drip heartache and pathos, which illustrates the many moods and textures Angeline has mastery of.

The album also features Slowtime - a collaboration with Angeline's long-time musical partner Nick Radford aka Frootful - which begins with stunning strings which swell and ebb away before Nick's guitar picks out the subtle rhythm as Angeline's voice caresses and strokes the wonderful touching melody.

We can only suggest you take this opportunity to indulge yourself in the music of one of the most original and talented female songwriters working today.
01. The Looking Dance
02. Are You Ready Cat
03. The Feeling Sublime
04. Perhaps in a Little While
05. The Music of the Spheres
06. A Tear in the Seam
07. What Has This Become
08. A Word for the Words
09. Slowtime (Latina Version)
10. Fool's Gold
11. Things Begin Again

The Candle Family are a musical duo brought together by the sound of love, and also, a love of sound. Sharing their mutual admiration for Isaac Hayes, Barry White, Marvin Gaye and a great swathe of obscure disco records, The Candles not only intermingled musically, but also romantically. In a Spiritual Marriage™ that has lasted the past 15 years, Burt and Shirley are now proudly giving birth not to a physical child, but to music.. and what glorious music this is. Their first release on the new Unforgettable Music label is certain to strike a 'chord' and hit all the right 'notes' with tastemakers and musicologists who have an affinity for a period in time where records were made not only to dance to, but to make love to. Thusly, you are cordially invited to experience The Candle Family's debut offering entitled 'Love Theme from Two Hearts' backed with the simmering sex explosion of 'Sixty Nine Beats Per Minute'.

Soft Focus is a collaboration of Jimi Tenor , Lary7 and Mia Theodoratus.
The album was recorded in NYC, at Lary7´s legendary all-analogue studio Plastikville. Lary7 is a collector of historical synthesizers and percussion instruments that are extensively used in the making of this album.
Mia Theodoratus lays down a hypnotic harp foundation on the compositions and Jimi Tenor caps them with exotic flute melodies. Soft Focus is evocative of the early Moondog albums. This record is for the hardcore avant-garde fans.

Gregory Porter

Room 56

Jazz Collective (6:13)

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