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Featuring the otherworldly vocals of the legendary jazz singer Norma Winstone whose vocals were recently sampled in Drake's 2023 chart topping single IDGAF (feat. Yeat) and Leo Taylor (Floating Points, Hot Chip, Joy Crookes) on drums, the EP is the amalgamation of Barrott's long term fascination with sunset music, and the ways the change of seasons impact the way we co-exist with the sun. As winter draws closer and we move on from the Autumn equinox to Winter solstice, Barrott's latest release captures the transformative yet paradoxical feeling of melancholy over the end of Summer and the start of winter while creating an eerie sensation of serenity.

The EP follows from the release of Barrott's critically acclaimed and deeply personal 2024 album Everything Changes, Nothing Ends.

The new EP sees Barrott return to his beloved sunset music, as he continues his eternal quest to find new ways to soundtrack this sacred Ibiza moment.



Crowned as the"master of sunset music"by Pitchfork, Barrott's new EP is filled with celestial grandeur that stops you in your tracks. A profound musical meditation and an homage to the sunsets of the Autumn months, the EP captures the sonic poetry of the changing skies and the seasons.

The haunting combination of Barrott's production & arrangement skills, Taylor's jazz drums and Winstone's endlessly ethereal vocals soar in a harmonious union across the title track of the EP while the openerI Am The Starssummons you in for a brief respite from the cacophony of the modern world. The wistful second trackMy Blue Heartlingers with you with its melancholic jazz horns swelling side by side with Winstone's vocals while the closing trackI Am The Airfloats through your ears with its sublime contemplativeness. I Am The Sun, You Are The Moonsees Barrott returning to his sonic ruminations on sunsets, however they are more profound and life affirming than ever.



"At the end of the summer, on a clear bright starry night I climbed to the top of a mountain in Ibiza with a pair of headphones and listened to these tracks and lost myself in the vastness of the night sky and the endlessness of Norma's voice. At that moment everything made sense in my world for the first time in a long while and it just felt right",Mark Barrott says.

"I was surprised and delighted to be asked to participate in this very musical project and to be given such a free hand. Trying to integrate the voice into what were already beautifully formed pieces was creatively very interesting", Norma Winstone says

After Hours is a 1957 album from the Prestige All Stars – led by trumpeter Thad Jones. Also including Frank Wess (flute, tenor sax), Mal Waldron (piano), Kenny Burrell (guitar), Paul Chambers (bass), and Art Taylor (drums), the album features 4 cuts, all composed by Mal Waldron. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Live at Smoke captures master drummer Al Foster in peak form during his final birthday celebration—a weekend of inspired performances at NYC’s Smoke Jazz Club in January 2025. Joined by an all-star quartet featuring Chris Potter, Brad Mehldau, and Joe Martin, Foster leads a group full of fire, grace, and deep swing. Drawn entirely from Saturday and Sunday night sets, this double LP-length live recording is both a celebration and a moving farewell from one of jazz’s great rhythmic voices.

The album 'Sueno', produced by Kip Hanrahan, was originally released in 1989 and is one of Palmieri's more introspective and harmonically rich projects. The album seamlessly blends salsa and Latin jazz with modern jazz elements and features an outstanding line-up of musicians such as David Sanborn, Brian Lynch and Francisco Aguabella. Tracks such as 'Azucar' (a reinterpreted classic) and 'Just a Little Dream' once again showcase Palmieris genius for composition and improvisation. 'Sueno' has been remastered in excellent quality by Intuition Music for the Master Series, highlighting the album's multi- layered arrangements and rhythmic complexity. This reissue honours Palmieri's musical legacy and underscores the timelessness of his sound

Sixteen wonders from the first three years of Franco’s own imprint Les Editions Populaires, founded in 1968. Mostly OK Jazz, performing ravishing rumbas and bolero ballads in Lingala, traditional songs in Kikongo, Kimongo, and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira, and their own tough take on US funk.
Glorious music. Bim.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

South London's restless pulse runs through British-Bengali musician Tara Lily's latest collaboration with the enigmatic King Krule. On 'Quiet Nights (Early Takes)', the pair craft shadowy soundscapes where hazy jazz chords and warped synths blur into something raw and hypnotic. The standout track, "Tropical Storm," described as a "lucid dream playing in our minds again and again" captures flashes of early Archy Marshall chaos, refracted through Tara's sleek and sleepy vocals, over a bed of guitar pedals, synths and DIY beats. Talking about the project Tara says: "'Quiet Nights' are some of the early sketches from a deadly quiet and beautiful period of time. For myself it was a time of stripping back, dropping down into the ground and channelling something raw and real."

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

180g Orange Vinyl LP

Lack Of Afro feiert das 15-jährige Jubiläum seines bahnbrechenden Debüts ""Press On"" mit einer neuen LP-Edition auf orangefarbigem 180g Vinyl im Gatefold samt 8-seitigem Booklet mit Linernotes von Radio-DJ Craig Charles (BBC 6Music) und Bassist Damon Minchella (Paul Weller, Richard Ashcroft, Ocean Colour Scene), einer Track-by-Track-Anleitung von Adam Gibbons selbst sowie unveröffentlichten Sessionfotos. Ein Album, das jede Tanzfläche zum Kochen bringt - mit den Cut-Up-Jazz-Drums von ""Rodrigo"", dem groove-geladen-mitreißenden ""The Outsider"" oder dem ultra-heavy Arctic Monkeys-Cover ""When The Sun Goes Down"". ""A musical brother...and I only f*ck with the best!"" - Madlib

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

'In collaboration with the children of Nico Kasanda, better known as Docteur Nico, Planet Ilunga proudly presents an anthology dedicated to African Fiesta Sukisa, available as a 3LP set and a digital release with bonus songs. This release is the result of many years of preparations and was realized in close partnership with Liliane Kasanda, Nico’s eldest daughter. Marking forty years since his passing, we felt that the year 2025 was the right time to honor Docteur Nico’s legacy with this original collection.
'Almost all of the African Fiesta Sukisa songs were released on Nico’s Sukisa label which translates in Lingala for “the final accomplishment”. The music on Sukisa, crafted by Nico and legendary vocalists such as Chantal, Sangana, Apôtre, Mizele, Lessa Lassan and Josky, embodies the essence of that powerful phrase with genius, class and depth. The label ran between 1966 and 1975 and released approximately 280 songs. Ngoma also issued the group between 1967 and 1971 and, in addition, reissued material from the Sukisa label. Many of these songs have become part of the collective memory of Congolese society and are still heard, discussed, and analyzed daily across digital platforms worldwide, as well as on numerous Congolese radio and TV stations.
'The album we put together features some of Nico’s signature songs alongside never before reissued tracks from the Sukisa catalog. It furthermore contains a large booklet with song commentary, testimonial interviews from well-known musicians, journalists, fans and Nico’s entourage, besides never before published photography about his personal and musical life.
'Alastair Johnston, author of the book ‘A Discography of Docteur Nico’ and longstanding Planet Ilunga collaborator, designed a stylish booklet and cover using all our collected material. Audifax Bemba, longtime admirer, compiler and connoisseur of Nico’s music, and the author of most of the song commentary in our accompanying booklet, offers his portrait of Docteur Nico:
“After displaying technical virtuosity with African Jazz, expert and accomplished guitar with African Fiesta, which musicologist Sylvain Bemba described as a dream guitar, Nico Kasanda was consecrated ‘dieu de la guitare’ by the public in the late sixties. With his band African Fiesta Sukisa, Docteur Nico displays his wide palette of unusual sounds. While exploring the Hawaiian guitar with its clear, airy, plangent, psychedelic effluvia, he continues to replicate the piano comping technique, and adds two missing strings to his bow: a simulation of the sanza (likembé or thumb piano), whose sounds he reproduces right down to the noisemakers of the tiny tin rings, on the one hand, and the sounds of the Luba balafon on the other. The right note, in the right place, at the right time, is the triptych on which Nico Kasanda’s playing is based, a note dressed in the perfect sound. A guitar of pure emotion. With African Fiesta Sukisa, his playing takes a ‘Chopin-esque’ turn, sending out more notes in a sublime adagio. The true artist is the one who simplifies everything. Docteur Nico is a genius of our time, whose style makes him the supreme exponent of the most important guitar school in Congolese music. He is recognized by his peers as the greatest African solo guitarist of all time. Sculpting sound in a tireless quest for beauty, Nico Kasanda has sublimated the guitar throughout his career.”






























[xd] Kamulangu [Outro] (Dr. Kasanda – Sukisa 135) Folklore Baluba

Katie Meluas zweites Album Piece By Piece (2005) folgte auf ihr rekordverdächtiges Debüt Call Off the
Search und festigte ihren Platz als eine der erfolgreichsten jungen Künstlerinnen Großbritanniens. Mit gerade einmal 21 Jahren lieferte Katie eine reife, selbstbewusste und emotional reiche Songsammlung ab, die
weltweit beim Publikum Anklang fand. Das Album wurde europaweit mehrfach mit Platin ausgezeichnet
und enthielt mehrere Hit-Singles, allen voran „Nine Million Bicycles“, das zu einem internationalen Klassiker und einem von Katies beliebtesten Songs avancierte. Mit einer Mischung aus Folk-, Blues-, Pop- und
Jazz-Einflüssen unterstrich „Piece By Piece“ Katies unverwechselbare Stimme und ihr wachsendes künstlerisches Können. Anlässlich seines 20-jährigen Jubiläums wurde das Album in den Londoner Metropolis
Studios neu gemastert und um umfangreiches Bonusmaterial erweitert, darunter B-Seiten, Live-Auftritte
und unveröffentlichte Demoaufnahmen aus Katies Archiv.
Diese Jubiläumsausgabe ist eine prägende Veröffentlichung in ihrem Katalog und bietet Fans und Sammlern die Gelegenheit, ein Album neu zu entdecken, das Katie Melua in einem entscheidenden Moment ihrer
Karriere einfing.

Nach einem kurzen Intermezzo bei Art Blakeys Jazz Messengers und einigen gemeinsamen Aufnahmen mit
dem Altsaxofonisten Gigi Gryce gründete Donald Byrd 1958 sein erstes eigenes Quintett, das er gelegentlich
auch zum Sextett erweiterte. In der Bläserfront stand dabei oft der Baritonsaxofonist Pepper Adams an der
Seite des Trompeters. Wie heiß diese Band zu swingen verstand, zeigte sie im November 1960 bei einem
zweistündigen Auftritt im New Yorker Half Note Café, der auf zwei separaten LPs veröffentlicht wurde.

Seine exzeptionellen Fähigkeiten als Schlagzeuger hatte Johnathan Blake dem Blue-Note-Team schon bei
Aufnahmesessions mit dem Hammond-Organisten Dr. Lonnie Smith und dem Pianisten Kenny Barron
bewiesen. Im Jahr 2021 gab Blue-Note-Boss Don Was dem Schlagzeuger dann die Gelegenheit, sich auf
einem eigenen Album auch als Bandleader und Komponist zu präsentieren. Auf “Homeward Bound” stellte
Blake sein neues Quintett Pentad vor, das er mit einigen der aufregendsten Musikern der zeitgenössischen
Jazzszene bildete.

Die fünf jungen ”Blue-Note-Löwen“ Gerald Clayton, Immanuel Wilkins, Joel Ross, Kendrick Scott und
Matt Brewer von der Band Out Of/Into veröffentlichen den Nachfolger zu ihrem erfolgreichen Debütalbum
„motion I“ (2024).
Als „The Blue Note Quintet“ hatten die fünf Musiker letztes Jahr zunächst in den USA erfolgreich zum
85. Blue-Note-Jubiläum getourt, dann veröffentlichten sie im selben Jahr unter neuem Bandnamen Out
Of/Into das Album „motion I“, das Fans und Medien voll überzeugte. DownBeat lobte, wie das Quintett
„neue Dimensionen des Post-Bop, üppige Melodien, kraftvolle Improvisation und dynamische Musikalität
auslotet“.
Jetzt bringt die Band den Nachfolger ihres Debütalbums heraus, mit weiterer Musik aus den gleichen inspirierten Studiosessions. Das Album präsentiert wieder sechs Originale aus der Feder der Bandmitglieder,
die allesamt nachdrücklich in die Zukunft des Jazz weisen.