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Harri Pearson is referred to as 'the Most Balearic Man in The World' and goes someway to prove that here on Magic Wand. 'Sweet Machine' is a lively disco cut with plenty of raw machine sounds, elements of peak-time party flavours and fat synths. 'Drums Of Fire' flips the script with a much more chilled out and exotic downtempo offering and 'Acid Reign' is a real dreamy excursion on bongo-laced drums. 'Trash Dubbing' brings a little grit and sleaze to close.

It’s a follow-up long in the making as Ukrainian artist Volodymyr Gnatenko re-enters Kalahari orbit.

Somewhere between submerged video game OST and ritual incantation, Mershiy LP recalls the finest psychoacoustic ambient dub the ‘90s had to offer. Less direct than the previous album, allowing space for IDM introspection and some proper contemplation. A mind-melt but keeping it widescreen and pretty meticulous throughout.

Imagined vistas shot in pristine 4K, impeccably crafted with close listening in mind. Repeated listens reveal more insectoid detail and a knack for detailed sonic immersion.

A 6-track zone-out where diaphanous texture makes way for ominous dread as the narrative unfurls. Balancing urges and inclinations with a fathomless churn of acid, trance, dub and pointelist electronics.

Written and Produced by Volodymyr Gnatenko
Design by Susanne Janssen.
Mastered and cut by Anne Taegert at Dubplates And Mastering.
Distributed by One Eye Witness.
2025

It’s always a pleasure to welcome Scottish producer Milton Jackson back on Freerange and this time he joins forces with a trio of Detroit heavyweights to deliver the Fire Emoji EP. Brian Kage is a producer / DJ, founder of record label Michigander and has released on esteemed labels such as FXHE and Planet E. Here, Brian is on co-production and mastering duties and helps bring a raw yet musical quality to all four tracks. HazMat Live is a Detroit native known for his unique approach to music and live performances having graced records and live shows with the likes of Kenny Dixon Jr, Amp Fiddler, Bilal, Soul Clap and Delano Smith. Finally, Jon Dixon adds his own inimitable touch to the release with his deft keyboard work. Jon Dixon not only leads the Underground Resistance live acts Galaxy 2 Galaxy and Timeline but has also performed with everyone from Jeff Mills, Carl Craig and Mike Banks through to Goldie, Leon Ware and Dwele.

Lead track Fire Emoji is probably best described as a serious stomper. A paired back club tool which pumps hard and will keep the energy levels simmering on any dance floor worth its salt. Echoing vocals and reverb-drenched hits add a trippy edge whilst an extended break adds extra drama and tension to the arrangement.

The Sunsetters lightens the mood with a euphoric slice of chunky, deep house which acts as the foundation for HazMat Live to deliver his epic synth solo, accompanied by lush strings, deep pads and punctuating 909 snares.

Wanna C U fuses US and UK Garage sounds to form a taught, muscular club groove which will lock you in with it’s fat stabs, swinging beats and repeating sampled vocal hook.

Shiken Hanzo is an artist not easily forgotten. His sound splices the fractious traditions of jungle with more ambient touches and this hybridisation has us incredibly excited to bring you his first full length album - ‘Fate Worlds’. In doing so, his boundless creativity is brandished through complete artistic freedom. The result is a special blend of foreboding atmospherics and tightly-bound percussive force, an odyssey of an album which takes influences from across the jungle spectrum and twists them into a unique musical journey. Hanzo's record on label's like Samurai Music and Cylon Recordings is clearly audible, a palpable legacy that has given breadth to his current creative purpose: to make ever-evolving music with no respect for conventions or boundaries.

During the course of his career, the legendary creator of Afrobeat Fela Kuti used his music to lament social injustices and political corruption in his native Nigeria. His music, a compelling blend of American funk and West African highlife, often locked into spellbinding grooves that seemed to go on forever. Yet that was the point: to fall deep into the rhythm and dance away the hardship. While this impacted Nigeria and the entire world, it also affected Fela’s son Femi and his son Made, both of whom carry his legacy as torchbearers for change. On February 5th 2021, Partisan Records, home to Fela’s catalog, will release two albums from Femi and Made — both very much in the tradition of Fela’s music, but with different scopes. Femi’s album, Stop The Hate, radiates the unique Afrobeat sound that he has forged throughout his long career, affirming the sharply political conviction that his father would’ve claimed in the 1960s, ‘70s and ‘80s. Made’s album, For(e)ward, is a modern and progressive freedom manifesto, pushing boundaries of the subgenre even further. Made also performs every instrument on the album. Together they will be packaged into a double album called Legacy + that, when taken as a whole, bolsters the rich musical heritage of the Kuti name. Yet this isn’t just about honoring Fela, it’s also personal for Femi and Made, a father and son with deep creative synergy. Most importantly, the project finds these men coming together in the name of family. “This is probably the most important part of my life right now,” Femi says. “I’m happy because he’s not copying me. He has found his voice. What other joy could a father want than to experience this in his lifetime?”

Jahtari label compilation full of all-new Outsider Dubs, Dancehall bangers and lots of cosmic low end, marking twenty years of Reggae oddness from Leipzig.

Vol. 5 is the first addition to the Jahtarian Dubbers series in over ten years, starting off with ‘The Loop Jerk’ by DJ and activist Dave Watts aka KingLMan (who sadly passed away in 2024).

Kiki Hitomi turns up the heat with ‘Red Mustang’, a raw but sweet PG 18-rated Japanese lofi Reggae gem, followed by ‘Casio HipHop’, an addictive synth & drum machine session by UK bedrock producer Kris Kemist (Reality Shock Records).

Singjay miracle El Fata brings the positive energy with ‘Boom Sound’, a synthie dancehall scorcher hot off the tape reels at Naram’s studio in the New Zealand bush, while Jura Soundsystem’s hypnotizing ‘On My Way (Dub)’ easily shifts gears into Sly & Robbie-mode.

Side B starts off with Pupajim’s prophetic ‘Tidal Wave’, produced by digi-reggae specialist Raggattack and coming in an epic extended Disco Dub version.

Melodica wizard Taka Noda (Mystica Tribe) and synth shaman Danny Wolfers (Legowelt) enter into deep magnetic communion with their Sacred Tascam tape deck on ‘Cabal of Puppeteers’, followed by DJ veteran Speng Bond chanting ‘Wha Mek’ over a spaced out depth charge by Jahtari co-founder Rootah.

Gameboy-whisperer DJ Scotch Egg (WaqWaq Kingdom, Seefeel) joins forces with disrupt and Dub trumpet black belt Pablo Volt (STA) for a mindbending journey going all the way from synth heavy Roots to Acid Jazz, on Namahage‘s ‘Voidout Dub’.

The voyage ends with a hazy and mystical Ambient Dub version of ‘Muuri’ by Finish singer Tiiu Helinä, with Tapes on keys – not to be missed!

All lovingly mixed by disrupt, coming with iconic artwork by Disko 69 (Doppeldenk).

With releases on Brooklyn’s Major Records and UK imprints Non Stop Rhythm and Indulgence, DJ Split is a breakthrough producer putting his own stamp on the classic Chicago house sound. For his Shadow Pressings debut he has conjured up five original club cuts that will work their magic on any dance-floor worth it’s salt.

Last Night Baby sets the tone with taught 909 beats, punchy bassline stuttering vocal hits. Piano chords and a smattering of melodic chimes and just the right amount of musicality without taking away any of the raw energy and turbo-charged grunt. Treading a similar path but upping the BPM’s, XNXX goes for the jugular with gnarly FM bassline and frenetic groove.

Flip over for Can I Tell You? which goes a little deeper with a rolling bassline, filtering Detroit pads and strings whilst Step For brings touches of acid, banging 909 toms and vocal chops. Closing out the EP we have One In A Life Time which turns up the jack factor with snappy 808 snares, mechanical bass line and deep stabs. DJ Split is a man on a mission to bang the party and has come prepared with his piñata fully loaded with big, fat beats n basslines.

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

The cassette format SPCS1680 features "With Trampled by Turtles" on the A Side and last years 'White Roses, My God' SP1655 on the B Side! No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

»Mother Nature« is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focussed on his work as a producer for artists such as Jens Friebe, MissinCat, or Fotos. »Mother Nature« sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. »Mother Nature« combines a sense of playfulness with cunning compositional rigour to stunning effect.

Intelmann took full creative licence and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. »The synthesizer melodies are arranged like string quartets, while the songs are presented as musical themes strung together so that they form a coherent story,« he explains. The resulting sound isn’t quite as »krauty« as someone called it, instead the artist prefers to call it »slow-kraut—1980s synth sound with 1970s George Duke-style beats,« though of course he never attempted to fit in one specific genre or replicate a certain sound: This is simply the essence of Berend Intelmann as a composer and storyteller.

The lyrical matter of »Mother Nature« is inspired by life and death. This informs an album that masterfully creates contrasts and utilises the friction generated between them to tell its stories. The album opener and second single »All Gone« greets its audience with the couplet »In the long run / We’re all gone,« but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. Also the slowly-unfolding first single »Life Of Another One« sets the stage for a reflection on memories that have become so distant that they feel like belonging to another person altogether with sombre, intertwined melodies. However, these darker tones slowly give way to laid-back grooves, Intelmann’s smooth vocalisations and whirling synthesizer sequences.

The collaborations—a vocal duet with Marla Hansen on »A Focused Mind,« Der Assistent’s subtle theremin contributions to »The Less We Cared« and Mieke Miami flute and saxophone playing on »Mother Nature«—further enrich this album that the artist claims has been »co-produced by friends and family.« Indeed, »Mother Nature« might be Intelmann’s solo debut proper, but he remains a teamplayer at heart.

Yesterday's Children emerged from the vibrant mid-60s Connecticut music scene, evolving from a garage-based instrumental outfit into one of the era's most compelling proto-heavy rock acts. As they evolved, they embraced the psychedelic and hard rock influences of the late 60s, crafting a heavier, more dynamic style. Under the determined management of brothers Dennis (vocals) & Richard (guitar) Croce's father, Dominic, the band gained regional popularity. Their 1970 self-titled album, recorded in New York with producer Warren Schatz, showcased a mix of ferocious originals like "Hunter's Moon" and "Sad Born Loser" alongside inspired covers. Though the album failed to achieve commercial success at the time, it has since been rediscovered as a cult favorite, celebrated for its raw energy and ahead-of-its-time heaviness. Known for their immersive live shows-complete with custom-built light and sound systems-the band toured the East Coast in vintage hearses, leaving a lasting impression on audiences. Despite their eventual breakup in 1972, Yesterday's Children's legacy endures, with their sole LP standing as a landmark in the transition from garage rock to the heavier sounds of the 70s. A true hidden gem, their music continues to resonate with fans of psychedelic, hard rock, and proto-metal.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

David Lowery (Cracker, Camper Van Beethoven) to release his new 28-track solo album. "Fathers, Sons and Brothers" is David"s musical autobiography, celebrating his youth, family, friends and the highs and lows of his lengthy 40-year career in the music business. The album combines three of David"s previously online-only released autobiographical solo albums "In The Shadow of the Bull", "Leaving Key Member Clause", and "Vending Machine", and also includes four new previously unreleased songs, as well as four newly re-recorded tracks: He"s been writing songs about people on the fringe for damn near a lifetime. 40+ years of detailing the idiosyncrasies of outcasts, losers, freaks and outliers in society in his two acclaimed, if not totally different, bands - Cracker and Camper Van Beethoven.

As time marched on, many of the DJs I had been working with such as Pete Tong, Paul Oakenfold, Trevor Fung, Simon Dunmore and Johnny Walker got involved in the world-leading UK dance scene, raking in cash by making records. I thought ‘I’ll Have some of that!’ This led to my first foray into the studio creating the proto-acid jazz classic 12”, ‘Psychedelic Jack (That’s Where It’s At)’, which cheekily sampled Frank Zappa, Soft Machine and Gong. With me and Gilles on vocals, it got us signed to Acid Jazz Records, who released in 1988 under the name of Extasis.

That was just the start and nearly 35 years later (gulp!) I’ve had a ball, producing Galliano and Paul Weller, working with Mick Talbot, Roy Ayers, Linda Clifford and Sharon Redd, remixing Will Downing, Ce Ce Rogers and Blaze. I’ve made house tunes with Faith’s Terry Farley, run the legendary Dadhouse Records label with Dave Jarvis. I also set up my own studio and released music under a variety of names, both for my own labels and Acid Jazz Records. Recent releases include my solo albums “Firebird” (2023) and “Dream World” (2024). There was also “Back To Business” with Mick Talbot, released in 2023.

"""My life began in Columbus, Ohio, USA, moved on to an English village, then to the bright lights of London. America has always been a big part of my life, my father is American.
This album is a snapshot of my experiences. The lyrics tell some of the story and the music helps to tell the rest. I grew up listening to American music and when I began songwriting I was inspired by the icons and styles from the 1950s/60s and 70s. As I wrote the songs for this album I consciously looked to represent some of the styles from artists I love including Elvis, Dylan, Neil Young and Joni Mitchell. Through the wonders of modern digital recording I was able to work with some amazing American musicians who helped me to create the authentic arrangements and styles I sought to emulate. The album is self produced but the help and advice from Pat Collier and Jess Corcoran at Perry Vale studios plus the talent and input from all the musicians was invaluable. "

In his sixth and latest album “New African Orleans”, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal. He has whittled down around 50 compositions – both original and standards - to a dozen which Alune recorded in Paris, Dakar, Lagos and New Orleans. “The idea first came to me during the Jazz à Gorée festival I organized back in 2014,” he explains. “It had me reflect on the notion of reversing the musical trip most people take from the United States to the African continent. I wanted to set out westward and begin a musical conversation with the best artists, both in Nigeria and the US.”
To achieve this, Wade has invited top artists from both sides of the Atlantic, including the Nigerian talking drummer Olaore Muyiwa Ayandeji, the percussionist Weedie Braimah and the jazz drummer Herlin Riley from New Orleans. The musical inspirations are equally transatlantic, ranging from Dr. John to Manu Dibango and Charlie Parker. But the 45-year-old also pays homage to his father who was a brass band star in his native Senegal back in the Sixties.
BACKGROUND

We only have a partial idea of the birth and remarkable development of the music born of the transatlantic slave trade. From Malinke ballads to Cuban son, from call-and-response patterns to field hollers and hip-hop, Yoruba rhythms to Argentinian tango, from Angolan percussions to the New Orleans brass band sounds… all have roots in Africa and a shackled migration that lasted four centuries. No more so than Congo Square in the Louisiana capital. In 2024, we mark the 300th anniversary of the implementation of the Code Noir which “gave enslaved Africans Sundays off to dance”. A drop in the ocean, but one which shows the importance of culture as a lifebuoy against this barbaric trade. As the Guadeloupian writer Daniel Maximin once claimed: “Our music guided us from the scream to the song, from dragging our chains to dancing.”