Buscar:the jazzy 5

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Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

The record "Sha in Africa" is the original soundtrack for the 1973 film of the same name, the
third chapter in the Sha saga. It wasn't composed by the famous Isaac Hayes (who scored the first
film), but by Johnny Pate, a highly talented arranger and composer.
This soundtrack is considered a classic of the blaxploita on genre and is s$ll highly sought a%er by
DJs and collectors today for its funky and jazzy sounds.

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

Fasten your seatbelt and let Berlin-based edit master Voodoocuts take you back to the good times with his jazzy reinterpretations of two classic tracks. The A side of this 7"" kicks off with 'That Cool Loop', an alternative, Latin-inspired reimagining of Us3's well-known 'Cantaloop' that is sure to get the dancefloor moving. On the flip, 'Jazzaround' offers a reimagined take on House of Pain's anthem, packed with jazzy chants, swinging chords and crispy drums. Another finger-licking donut not to be missed!

This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

Green vinyl. This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

20th Anniversary Reissue. Remastered. Groundbreaking MPB/Downtempo Classic. Originally released in 2005, CéU introduced the world to a bold new voice in Brazilian music. Seamlessly blending samba, MPB, soul, and downtempo grooves, Céu delivered a debut that felt both deeply rooted and strikingly contemporary. With her smoky, understated vocal tone, she evoked echoes of classic bossa nova while pushing into new sonic territory - covering Bob Marley"s "Concrete Jungle" with Afro-Brazilian swing and layering in dub and electronica accents. Hailed for its elegance and quiet innovation, the album hit No. 1 on Billboard"s World and Heatseekers charts, earned a Grammy nomination, and became the highest U.S. chart debut for a Brazilian female artist since Astrud Gilberto. Now celebrating its 20th anniversary, CéU returns remastered for vinyl - a modern Brazilian classic reissued for a new generation of listeners. Includes Classics : "Lenda", "Malemolencia", "Concrete Jungle"... Mastering by Colorsounds Paris.

This is the merging hydra of these two dubby-eletronicky-cheeky experimentators.

Jonquera (half of Pilotwings, thrisd of Jeza-Bel and many more) jazzy-poppy-variété rythms crunches Officium dreamy-hazy-bass dubs in a gaze.

These 6 tunes have been recorded live during a jam session, mixed by the duo for a tape project.

But the Tioma Tchoulanov's mastering conviced us to press a small batch of 300 copies.

Paolo Viscogliosi painted some artowrks elements and they enjoyed the layout with Maya Bellemin.

Sophisticado Recordings label head Vick Lavender hails from Chicago and is doing fine work to continue the city's house legacy. Back in January, he dropped the superb Time Traveler album and is now back with a cheeky one-sided 12" on limited white vinyl that draws on some mad classic sounds, all worked up into a super funk and jazzy jam that's layered up with Rhodes jams, splashy cymbals, rubbery and rolling baselines and organic percussion. It's the sort of steamy session to get cosy backrooms really heated up and boiling over. Another standout from Lavender.

Returning to Curvature for his eagerly awaited second EP, Senses brings an impressively varied array of atmospheric jungle to the table, drawing from a multitude of influences across the musical spectrum with Convex Reflex.

A1 - Ratio
A break-laden intro lays the groundwork for a considered foray into the old-school - Senses flecking the mix liberally with synths and female vocal hits of yesteryear, before the welcome crunch of thunderous amens takes over. A cascade of rip-roaring edits
floods the track taking you on an epic ride through the ages, breaks chopped with riotous energy confirming this track as a perfect DJ tool for the dancefloor.

A2 - Sun Runner
Beautifully crisp drums open a DJ-friendly intro to Sun Runner, delightfully clear sounding with distinctive cymbals, a thick snare and subtle bongos. An airy soundscape soon washes into the mix with calming synths and flutes, creating a delicately jazzy blend of styles with soothing melodies contrasting perfectly with the breaks. More pronounced synthwork follows to spice things up as the bassline rumbles along below.

B1 - Spirit Vector
Dense atmospherics are the order of the day as Senses deploys Spirit Vector, opening with an array of synths and strings to create an intro reminiscent of Intense's work in the late 90's. Soon we are treated to a paradoxical assortment of heavy amens that work impeccably in the mix - thundering forth with pads soaring high and a heavy sub bass below. Various instrument samples litter the breakdown before a vocal sample declares "Yes". Yes indeed.

B2 - Still
Closing the EP in style, Still opens with sparse breaks, lightly building with extremely subtle apache breaks in the backdrop with sporadic keys and smooth pads. The drop arrives with warm, room-filling basslines and synths to elevate the atmosphere alongside luscious flute samples.Layers are added to the excellent breaks as Senses sprinkles instrument samples, keys and a classic female vocal, completing a joyous composition for Curvature.

Words by Chris Hayes (Spatial / Red Mist)

"While playing for Phil Lesh, I became friends with his son, Grahame, and we started booking shows called Dead Blues, a Phil and Friends offshoot that used the traditional blues and folk songs from the Dead catalog as a vehicle to bring new musicians from the blues and rock scene into Phil’s orbit. For example, we brought Phil together for the first time with the Blind Boys of Alabama, Charlie Musselwhite, G Love, JD Simo and many others new to Phil’s community.
Dead Blues was a great concept for live shows but I never considered making an album until I met singer Datrian Johnson, one of the most moving singers I’ve ever worked with. John Medeski brought Datrian into the community and we instantly became friends and collaborators and began recording the songs on Dead Blues Volume 1, reinterpreting the American classics.
The tracks feature North Mississippi Alumni Cody Dickinson and Rayfield “Ray Ray” Hollowman, as well as old friends from Memphis, Paul Taylor/New Memphis Colorways also on drums, bass and guitars and Steve Selvidge on Space Funk guitar. I found that writing the music on bass (then adding keys and guitar) led the music down a funky, jazzy avenue and Datrian worked his magic, reinterpreting the classic blues lyrics and melodies with his soulful vocals."

Thierry Wolf und Frédéric Lai (Sohn des Komponisten) wählten rund zehn DJs aus, darunter bekannte Vertreter der French Touch-Szene, die für Sammlungen wie Hôtel Costes bekannt sind. Diese Künstler wurden mit der Aufgabe betraut, die Werke von Francis Lai neu zu interpretieren. Die DJs, die oft weniger bekannte Stücke auswählten, überraschen mit persönlichen Entscheidungen. So wählte Play Paul (Bruder von Guy-Manuel von Daft Punk) „Robert & Robert“, da es das letzte Stück war, das er mit seinem Vater hörte. Auch Philippe Cohen Solal von Gotan Project wählte „L’Amour est bien plus fort que nous“ als Epigraph auf dem Grabstein seiner Eltern.

Dieses Projekt verbindet musikalisches Erbe, Emotion und Innovation. Durch die Remixe erhält die Musik von Francis Lai eine frische Perspektive, während gleichzeitig seinem Pioniergeist gehuldigt wird.

The Pitch is a quartet made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh. Founded in Berlin in 2009, they play a hypnotic form of structured improvisation full of acoustic exploration and electronic intervention. On Neutral Star, The Pitch are joined by Australian guitarist/composer extraordinaire Julia Reidy for a record of star gazing electro-acoustic jazz.

Reidy's playing and compositional technique between Takoma-style fingerpicking and Glenn Branca'esque microtonality, perfectly complements the loose improvisational framework The Pitch is providing. Endless ≠ Limitless, a recent piece by Reidy and Joh, is transformed from a washed-out/obscured tape delay composition into a colorful, meandering ensemble piece with a swarming character - blooming with intrigue for the patient ear. The B-side strikes a more gentle tone: the 24-minute Neutral Star begins with a siren-like overtone whose drone-like flowing slowly morphs into a deterritorial modality with jazzy undertone. Accompanied by constant eruptions of vibraphone, clarinet, electronics and double bass punctuation – while permanently questioned by Reidy's drippingly pearly steel guitar work. Slowly evolving into new territories through the expansive instrumentation and keen listening between the players.

The fact that Neutral Star was recorded in one take (by Rabih Beaini in his Morphine Raum studio/venue) in front of a live audience and without overdubs is hard to believe, even for the trained ear. The recording appears to be too multilayered for a single snapshot, with its compositional structures constantly shifting and moving against themselves, counterintuitively and anti-cyclically. Reidy´s playing has been described as "unstable harmonic territory, and the collaboration with The Pitch interprets this concept brilliantly - adding further non-places to the territory. And the listener, however, is never left alone in the process of tectonic shifts - at least as long as their listening is attentive and contemplative at once.

Cee ElAssaad's ENSOULED label kicks off with a head-turning first release that lays its cards on the table with a powerful title: Freedom, Innovation, Resonance Vol 1. Some of deep house music's most authentic voices contribute, starting with Trinidadian Deep who layers up spiritual synths, organic percussion and smooth beats ina typically cool fashion. The Cee ElAssaad remix brings brighter melodies, keys and jazzy overtones. Boo Williams's 'My Place' is like a busy lava lamp with gloppy keys rising and falling in a thick and velvety arrangement then Cee ElAssaad and Doug Gomez shut down with the steamy late night house of 'Jam It To The Riddim'.

Joaquin Joe Claussell readies the ‘Raw Tones’ LP on Rekids this June.

The first LP since 2008’s ‘Corresponding Echoes’ on his Sacred Rhythm Music, Joaquin Joe Claussell arrives on Radio Slave’s Rekids for ‘Raw Tones’, a nine-track excursion through the sound of his exquisitely soulful house music.

Originally released on uber limited cassettes, the music within ‘Raw Tones’ caught the ear of Radio Slave, aka Matt Edwards, who messaged Claussell, a friend since remixing Edwards’ Machine project in 2012, and convinced the legendary producer that the music needed a wider audience and, so, ‘Raw Tones’ the LP is here.

Introspective opening cut ‘Lock Down’ draws for breathy strings and swirling pads, followed by the hypnotic and low-slung ‘The Blame Game (Table Top Idea)’, which sees jazzy keys float around carefully crafted dubbed-out ambience and subtle, whispered vocals.

‘Break Free’ ups the energy, bringing a wonky bassline under decisive, machine-like drum hits while both spoken and sung vocals interplay throughout. ‘You Mutha Fuka’ brings rock-solid drums and thick bass underneath delayed vocals before the dreamy chords and twinkling keys of ‘Way Back Then’ close out the B-side.

The gorgeous ‘Air We Breathe (Revisited Cassette Demo)’ marries rolling percussion across live bass and softly drawn-out pads, followed by an instrumental version of ‘Break Free’. The final side of vinyl sees the extended trippiness of ‘If It's All In Your Mind Let It Out’ lead into the floaty low tempo closer ‘Hallucinations Ejaculations’.

Joaquin Joe Claussell, co-founder of Body & Soul with Francois Kervorkian and Danny Krivit, continues to run his Sacred Rhythm Music record label and curate the Cosmic Arts community centre in his hometown of Brooklyn, NYC.

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

There's no denying that 3 Chairs sole self-titled album, first released in 2004 and now reissued in a fresh 2025 edition, is a high watermark in Detroit electronic music culture: a decidedly dusty and ultra-deep collective endeavour from Motor City heavyweights Kenny Dixon Jr (AKA Moodymann), Malik Pittman, Rick Wilhite and Theo Parrish that somehow managed to sound even better than their respective solo productions. Highlights include the chugging, Rhodes-laden beatdown sweetness of '3 Chairs Theme' (featuring Norma Jean Bell), the ultra-deep and gently jazzy dustiness of 17-minute epic 'Blackbone Waltz', the organic deep house excellence of 'Dance of Nubia' (which sounds like it could have featured on the St Germain album Boulevard) and the sample-rich, slow-motion shuffle of 'Underwater People'.

New Source presents a new release from Juan Barraco under his alias Bunda. On this four-track EP, Bunda builds a personal and physical journey through his distinctive take on contemporary club music. Rather than following trends, Bunda draws from deeper sources: Latin American rhythmic traditions, post-industrial energy, and a classical music-rooted instinct for improvisation. The result is a release that feels expressive, tactile, and refreshingly off-grid.

From the heavy percussion and orchestral flashes of “Dvořák’s New World” to the stripped-back, jazzy minimalism of “New Source,” each track offers a distinct mood and approach. “Frente en Alto” brings a sense of urgency with its forward-driving rhythm and subtle tension, while “Game Over” closes the release with a raw, broken groove and distorted textures aimed straight at the sweatier corners of the club.

Disco Mind heads all the way to South America for this next outing with Colombian duo Vagabundo Club Social at the helm, having previously impressed on the likes of Razor n Tape. 'El Gato' kicks off with bright, expressive disco horns and fat, low-slung drums that draw your hips right in. 'Yim Zalzedo' has another thick-set rhythm and this time the horns take a back seat to the percussion and jazzy keys and congas. 'Tabu' flips the vibes and taps into a revivalist 90s house sound with piano chords getting hands in the air, then 'Adicto Al Limon' shuts down with a perfect uplifting and feel good Balearic house sound with a classic Chic bassline.

Scruscru dives into "the modern Yerevan bubble of music" with a new various artists outing that takes a look at the Armenian take on jazz, hip hop and house. It's utterly refreshing right off the bat with Vahagn M & Ycrow layering up jazzy keys with nice contemporary deep house swing, UNDO takes things into a vibey live jazz lounge and Your Friend Daao lays down shuffling and broken drum patterns that are effervescent with Neo-soul and nu-jazz energy. Elsewhere, Yerevan Calling's 'Next Step' brings stuttering jazz swagger and Shhau & Mesrop sink into a deep and soulful late-night sound on 'Andset'. There is a great deal of musical charm and originality to all of these fresh fusions, which makes this is vital LP.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Mexico-born and based The Funk District has been adding a contemporary spin to funk, soul, disco and Afro for a decade now. His latest takes him to Saint Wax and kicks off with 'Alligator Groove', which is a leggy, strident disco pumper with neat and funky guitar riffs. 'The Reverend' has even fatter drums pumping down and guttural gospel vocals adding emotional intensity. Gledd remixes with a more light-fingered and jazzy touch and flipside cut 'Gimme Something' offers deep disco and then acid tinged house anthem 'A Little More' rounds out the package.

lim. Colored Vinyl Edition (Oxblood)

Part 2 of our series of official reworks of The Warmer Music catalogue
For this new 12 Inch we are still in the warm Michael Franks land. A full MF compilation will be coming later.
After our first 12 Inch with DoctorSoul Reworks, we now return with more smooth, high class Edits/Reworks by 3 outstanding modern producers of soulful/jazzy dance vibes.
Michale Franks is one of the most prolific musicians of the Californian Westcoast/Jazz/AOR/Yacht scene, the one and only Michael Franks, who approved personally the new version. Over the languorous course of 33 years and 16 albums, Michael Franks has mesmerized an international legion of fans with his one-of-a-kind artistry. Seamlessly weaving lyrics of stunning sensuality, wit, reflection and literary eloquence over music that tastefully utilizes top shelf shadings of jazz, soul, pop, chamber and music from around the globe. His music was covered by countless international stars, like The Carpenters, Shirley Bassey, Rin

Neo funk rising star Buscrates aims high with Blasting Off, his first full-length album. The Pittsburgh-based keyboard cosmonaut has been grabbing ears since his days hooking up beats with the hip hop crew East Liberty Quarters, but after slinging spicy one-offs to a slew of hot labels like Omega Supreme, Voyage Funktastique and Razor N Tape (as well as contributing production to Wiz Khalifa and Curren$y's 2009 project), the time has come for a full-length featuring his growing modern funk repertoire.

"I'm a '90s hip hop dude, but I grew up on that '80s funk stuff," Buscrates acknowledges. DJ gigs provided a working knowledge of the jams that moved a contemporary crowd, and as his collection of keyboards and drum machines grew he began blending the best of both decades with his personal futuristic edge. "I was nice on the MPC but I wanted to have a little more dynamic range with what I was doing," he notes. The self-described "certified synth geek" was soon branching into sounds that recalled '80s legend Kashif crossed with the hip hop bounce of DJ Spinna, and the modern funk community took notice.

For his first full-length, Buscrates has crewed up with an ace team of collaborators, featuring vocalist Sally Green on the bouncy lead single "Lost And Found" and "Eight Nine." Kate Moe Dee takes over mic duties for the second single, "How Ya Gonna Do It," a slinky groove that slides in place alongside groups like the Sunburst Band and Rene & Angela as an exemplar of sophisticated R&B. Adding to those credentials are the sultry vocals of Anda on "Believe," but of course, it wouldn't be a Buscrates set without some stank, neck-snapping instrumentals. "Five Days" and "Sure Shot," both collabos with the drum technician DJ Epik, will rattle speakers and have already been lighting up message boards on recent Buscrates DJ sets. Round things out with some easy gliding, jazzy funk ("Turn It Out" with Brothermartino on flute and "Evergreen" featuring Tony Ozier) and you've got all the ingredients for a high-flying cosmic ride with Buscrates at the controls.

Within the nine carefully composed tracks of Young Bones, Mel D’s characteristic voice stands out in all its facets, varying from fragile to powerful, haunting to playful, but most of all soulful. With a voice that’s both extraordinarily clear and melancholic, Mel D is something surprisingly rare: a singer whose artistic expression goes beyond the mere use of her voice. On Young Bones, Mel D uses contemporary figures, rephrasing them into timeless formulas. Her unique musical language embodies references to genres like Indie or Alternative. In other moments, her sound leans baroque, then jazzy, soulful, and contemplative. Each song represents an ode to being connected: to the world, other people, and most of all to the beauty of music. Mel D draws her inspiration from struggles felt in the current world climate: “I have felt overwhelmed by the world we live in and its countless challenges,” said Mel D. “As if we’re all a bit directionless in our own lives.” Nevertheless, Mel D uses her musicality as a tool for resistance - using it to transform sadness and anger into creativity, and to give world-weariness a voice that seduces, comforts, and inspires. On Young Bones, Mel D sings us to a place where we might find hope - with songs rooted in concern, solidarity, humanness, and empowerment, inviting the listener to lean into those feelings. Bring the Witches Back, a hymn to witchcraft, is a quiet song that summons the return of witches with feminist urgency, for more love and magic to open ourselves towards each other and the world. Soft, a soulful song with a tender melody, gently lulls the listener into an in-between dimension, full of opportunities. Meanwhile, in the coming-of-age ballad, Slowly Growing, she raises questions about belonging and identity, pointing directly at our emotional core. Where Do You Look When It Hurts? speaks to the sensation of exhaustion and emptiness, offering musical warmth and a sense of community in moments of lethargy. Finally, listening to the album, one always feels in good company. Playfully working in folk and electro-pop elements, Mel D takes us on a ride toward love and a sense of belonging, particularly on the track We win. Young Bones was recorded in Zurich and Paris with two outstanding producers of our times: Renaud Letang, who has previously collaborated with Feist, Chilly Gonzales or Lianne La Havas, and Dino Brandão. The latter recognized Mel D’s artistic uniqueness during their first meeting, inviting her to a recording session in his studio and bringing her into the band of Swiss superstar, Faber. Mel D’s solo project was more a product of coincidence than planning, as she says, even though an undisputed talent and passion for music had always been apparent throughout her youth. During her studies in fine arts in Zurich, she founded the electronica-duo mischgewebe, and composed soundtracks for theater and movie productions, as well as for exhibitions. Long before forming her current artistic identity, she went by the nickname Mel D, in a humorous reference to the Spice Girls. Although her personality and musical language suggest thoughtfulness and a melancholy touch, Mel D acknowledges that an honest laugh is never out of place, making her sympathetic and approachable.

mimismooth, a one-of-a-kind singer widely recognized for her work with numerous artists such as Sick Team, Senninsho, and Green Butter, as well as for her

collaborative project First Jam Magic released under the name BudaMunk x Takumi Kaneko (cro-magnon) x mimismooth.

1Co.INR, a beatmaker based in Yamaguchi Prefecture on the western tip of Japan’s main island, is known for his releases on Jazzy Sport such as the album
Enough Said and his collaborative work with DJ Mitsu The Beats on BEATS OF THE MONTH SPECIAL. Now, their highly anticipated collaborative project
Kanojo to Umi (""She and the Sea"") is finally being released as a fully limited-edition vinyl pressing!

Lucas Chantre, aka WORLD BRAIN, last graced us with a solo release half a decade ago, with 2019’s Peer 2 Peer. As its name suggests, that album explored the promise and perils of universal connectivity via quirked-up songwriting and instrumental psychedelia. His new release, Open Source, deepens this internal and external journey. Bursting beyond the four walls of ‘bedroom pop’ and reflecting a move from Berlin to Paris—where much of the album was recorded—and on to Brussels, the album has a jazzy, cinematic scope (as on the Brubeck-inspired march “Fromage collatéral,”) enveloping the listener in a cosmic-pastoral audiosphere.

There are still many tones that evoke the software sounds of decades past (the exemplar here is “cAPTCHA,” whose virtual marimba and vocalese suggest a breathless, Exotica-inspired introduction .mov for the information superhighway) but the palette has become richer and more organic, lead by the woodwinds which play a major role throughout, with flute provided by labelmate Martha Rose. (On the aforementioned “cAPTCHA” one also hears the world-class whistling talents of the incomparable Molly Lewis.)

Yet the single most noticeable new element may be the use of Chantre’s native French, sung by his sister on “Ville fleurie” and the gorgeous, fluttering “Minute papillion” (the title an idiomatic injunction to slow down!) Chantre initially wrote these lyrics in English, but felt something wasn’t quite right, only realizing what was off when he heard them sung in another language. That spirit of discovery – of finding a new spark in returning home – suffuses Open Source. It invites us to play, beckons us to relax, reminds us to find serenity amidst the churn of the present: minute papillon, dans le tourbillon.

Colombia's finest purveyor of all things jazzy and musical, Felipe Gordon is back on Local Talk with a double album, but this time around he's going all live.

Together with his 8 piece band, Felipe has recorded a "Live Session" that perfectly explains how live played jazz, funk and fusion work so well with electronic dance music.
Over eight compositions, Felipe and his band explore everything from downtempo jazz-funk (example, check 'Wes'), jazz-fusion (example, check 'Socorro Y Jupiter'), jazz-house (example, check 'Strings Of The Afterlife').

There's even a great disco-funk cover of Gypsy Woman for added dance floor effect.

All together, this is a beautiful session where Felipe and his friends showcase what you can expect when you experience this band live on stage...Bogota style!

2026 repress

A timely reminder, if one were ever needed, of the mic skills of Gang Starr’s Guru, new 45 single B-Boy Mastamind is also a timely reminder of the production skills of Krash Slaughta. Last heard of round these parts earlier in the year with MF Doom remix Air and before that with his Phill Most Chill collabo Definition Of Ill, Krash is at home with the remix or edit as he is with the original material. This one finds our man using a ‘pella on which ol’ Baldhead Slick comments on his OG mic status to young pretenders over a phat beat and a sitar-led-sample that positively reeks of the ‘Age of Aquarius’ with an equally dope but totally different vibe to the jazzy DJ Krush original effort. Comes in a limited run of 200 camouflage-splatter and 100 standard black slabs of wax. Check!

After seven years away, Detroit's supergroup 3 Chairs aka Kenny Dixon Jr., Marcellus Pittman, Rick Wilhite and Theo Parrish, returned in 2013 with 'Demigods', a superb EP that now gets repressed. Known for their loose, free-flowing jam style, the collective blended their distinct individual influences into four unique tracks. The title cut delivers raw, dynamic acid, 'Elephant Ankles' radiates Parrish's jazzy, polyrhythmic soul, '6 Mile' channels Moodymann's mechanical edge with playful bass and 'Celestial Contact' drifts into minimalist, atmospheric territory. The release captures the crew's spirit of freedom and experimentation and proves this cult outfit can craft music that's as fun to make as it is to hear. It's the sound of four producers at ease yet still pushing new creative edges.

Mocambo is proud to welcome Peki Momés, a Turkish artist who has always expressed herself creatively, but accidentally began recording music in 2023. With no pre-education in music, Peki Momés brings a stylish, fresh perspective to groove music, blending her vocals with a unique mix of intuition and uncompromising authenticity.

Her first two songs showcase her versatility, offering distinct sounds that work as both dancefloor hits and listening gems.
Göç Mevisimi transports listeners to a secret place between Japanese City Pop and outernational/tropical boogie sound. Dirty disco grooves, soothing Fender Rhodes, jazzy flute and charming lyrics in Turkish language about our constant search and movement that makes us all passagers of life create a bonafide piece of global underground.

Rüya, on the flip side, is a heavy psych joint that embodies the gritty sound of psychedelic Anatolia. With wobbling grooves, fuzzy guitars and contemporary vocals, it brings a raw, yet hypnotic energy.

Now collaborating with Mocambo Records, Peki Momés is working on an album that promises to offer a fresh approach to Turkish alternative music, ready to captivate music lovers around the world.

Words from the label:

Having made its mark with a strong debut outing by Jon E, Natural Element returns with a 12” single from the seasoned and versatile Amsterdam producer Kid Sublime. With previous releases on Kindred Spirits, Jazzy Sport and Co-Op, to name a few, this release serves as a little taster to an exciting full-length project to follow in the coming months. The featured track ‘You Got Me Runnin’ is a blissful piece of uptempo soul delivered straight from the heart, with a warm, infectious bounce and synths that cut deep. Georgian/American singer-songwriter Bako features on vocals with a smooth and subtle delivery that adds an extra layer of beauty, alongside Kid himself on the chorus.

The EP sees remixes from West London’s WheelUP, who has been steadily making his unique mark on the broken beat scene for the past few years, and fellow Amsterdam producer on the rise, Mo Wrights, who takes the energy up a notch delivering a raw and captivating arrangement for the dancefloor.

Maison Blanche, a prominent figure of the Parisian underground scene, delivers a vibrant new EP that blends soulful house, French Touch, and disco energy. What A Time! is a celebration of club culture, with modern, dancefloor-friendly tracks that bring together funky grooves and nostalgic references.

From the French Touch-inspired "Dance Forever" to the sunny and bouncy "All My Life," this EP captures the essence of Parisian nightlife. "Guilty Disco" offers a disco-infused guilty pleasure, while "Circle Again" pays tribute to the underground house spirit with its looping saxophones and pianos. Closing the EP, "Call Me Jazzy" fuses jazz, funk, and house, delivering a groovy anthem that encapsulates the project’s organic and euphoric energy.

With What A Time!, Maison Blanche offers an uplifting and dynamic collection, capturing the perfect energy for both the dancefloor and the summer ahead.

N-You-Up & Boogie Vice Deliver Feel-Good Firepower with 'Come On Closer' on Definitive Recordings
Definitive Recordings proudly welcomes a brand-new floor-filling release from Boogie Vice and N-You-Up, two artists well
known to fans of Get Physical Music and the global house underground. Their new collaboration, ‘Come On Closer’, is a
powerful, feel-good house bomb that blends infectious female vocals, uplifting grooves, and jazzy soul into one irresistible EP.
The Original Mix sets the tone with its high-energy beat and bouncy piano bassline, laying the foundation for a hooky female
vocal that anchors the entire track. It’s pure peak-time house, designed for hot, sweaty dancefloors. Things get deeper on the
Carboot Sale Mix, a jazz-infused reinterpretation featuring live drum fills, trumpet flourishes, and rich organ chords that give it a
smooth, late-night edge.

A stripped-back Dub Mix follows, keeping things rolling with minimal vocals and a groovy focus on rhythm and atmosphere. The
EP also includes two bonus DJ-friendly tools: the Piano Tool, which spotlights the irresistible keys at the heart of the original,
and the Intro Mental Tool, a perfect warm-up cut with gradual layering and tension-building groove.
N-You-Up, the Southern France-rooted producer formerly known as The Beatangers, brings decades of DJ experience and a
deep love for jazz, funk, and disco into his sound. With standout releases on Nervous and Get Physical he is a name
synonymous with high-quality house music that always moves the crowd. Boogie Vice, hailing from Paris, burst onto the scene
with chart-topping nu-disco releases like 'Bel-Air' and 'Bad Girl', later gracing labels such as Ed Banger, Cuff, and Outcross
Records. With his unmistakable blend of funk, house, and flair, he continues to push boundaries while connecting with a global
audience.

PEACOCK DREAMS


After the resounding success of his project Le Cri du Caire, whose eponymous album was awarded a Victoire du Jazz in the “World Music Album” category, Abdullah Miniawy returns with ‘Peacock Dreams’, the first opus of his new trio formation released on the label PPL Songs Aghani Al-Khalq.


Accompanied by trombonists Robinson Khoury (2024 Django Reinhardt Prize from the Academy of Jazz) and Jules Boittin, Abdullah Miniawy presents an unconventional combination of three tenor instruments. The lyrical depth of the voice of the Egyptian poet, singer, and composer merges with the bold expressive capabilities of the two trombones, allowing him to explore unprecedented sound ranges that connect Western and Eastern musical traditions.


The Trio performs Abdullah Miniawy's latest musical compositions, as well as adapts former work stemming from the Egyptian revolution and his previous formation Le Cri du Caire, while highlighting collaborations by inviting trumpeter Erik Truffaz, flamenco singer Niño de Elche, and danish-indian producer Hvad on some tracks.


‘Peacock Dreams’ engages the audience in a unique musical experience that freely combines baroque and operatic influences, Sufi and Coptic themes, and musical motifs from the Arabian Peninsula, infused with the jazzy cacophony of Egyptian traffic jams, once more revealing the transcendental and communional power of Abdullah Miniawy's music.


ALBUM PITCH


A peacock dreams of being a poet. It concentrates, trying to shed its colors, turning its feathers into a gradient of flesh. On the other hand, a poet longs for the peacock’s colors—a galactic blend of earth, forest, sea, and sky, seen from a high vantage point.


A poet can close their eyes and absorb the knowledge of the finite, and absorb the knowledge of the finite, yet miss much, trapped in monotone concentration, eyebrows plucked down to 111.


The peacock, dipping in the ink drops from the poet's pen, sails through a tube into the poet's body. A fluttering storm erupts, reversing the roles: the peacock finds itself under an arrest warrant, while the poet, reducing his expression to a roaring "Wak-wak," struggles to describe the world.

2024 Repress

Double Vinyl on 140g includes DLC, gatefold sleeve, printed inners. Following the reissue of ‘Hex’ in late 2017, Fire Records reissue Bark Psychosis’ second studio album ‘///Codename:Dustsucker’ (2004) “which finds the band in remarkable form” (Pitchfork). Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound. Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton’s crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their “trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns” (Uncut). Recorded in Graham Sutton’s East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and ‘found drumming’ from ex-band member Mark Simnett. Bark Psychosis’

2025 Repress

Roberta returns to her own Night Moves label with her most accomplished work to date on NMR012. After a string of recent underground hits on prominent labels like NDATL, Worldship Music, and Innermoods, it is easy to wonder where she would go next. With all that cachet built up, a return to her roots with increased confidence has paid off in this exquisite and refined record.

"Your Touch" kicks off with Roberta's signature dusty drum sound before sultry vocals and electric piano drop in, setting a proper atmosphere for dancefloor action. Moody strings along with instrumental solos including one from James Duncan on mute trumpet elevate this track to an even higher level, certain to be big with the best deep and soulful house DJs across the globe.

On the flipside, "All The Things" works with a similar sound palette, but focuses more on harmony. Jazzy Rhodes chords slide over each other into an extremely infectious and memorable pattern, playing off the bumping and melodic bassline. The vibraphone solos are the cherry on top of what would be an A1 killer on any other record. Here it has to settle for being an unreasonably hot B side jam for the heads.

"Co mam delat" which translates from Czech to English "What should I do?" is the title track from this 3 track EP. Jazzy High Hats and Percussion set the pace for this mysterious groovy synth laden track. Your hips and the rest of your body will give that answer.
Side B "Overnight Delivery" - A Deep House Joint with 4 on the floor energy and warm evolving chime-like pads, Piano Chords and a touch of TB-303 Acid. It will Deliver your Dancefloor Audience to an Experimental, Deep House Experience.
B2 "Co Je To/What's That?" Is NOT a Translation. It's a Conversation that Matt hopes will happen between listeners and onlookers to the DJ that plays this track. Funky Bass ,4 on the Floor Drums, Jazzy Piano Chords and Devil Fish TB-303 Acid drive this track