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Marc Mac back with another high grade Bruk, Electro Boogie monster. This is the fourth and final piece of the series. From Africa to Jamaica, Brazil and now Japan Marc Mac has explored the international fusion and cultures that has been an influence on his style of Broken Beat. The four track EP is under-pinned with Jazz/Funkiness and a hint of Jungle in the subs can be felt on "Kambei". 'Yasuke Soul" and "Tokyo Nightlife" feel like a head nod to Ryuichi and Akiko, so buckle up and get ready for a Journey eastbound. Brilliant cover art is supplied by Mitchy Bwoy.

arigatō

With the label MPS, post-war musical history was written in Germany:
noble music productions with many international greats come from the
Black Forest and are timelessly legendary
Some treasures from the archive of the label are released by HGBSBlue on highquality vinyl.
The Hampton All Stars played at the first concert of the festival "VS swingt" back
then. MPS boss Brunner- Schwer was there at the mixing desk. Some of these
recordings were released in 1978 as the MPS LP "Alive and Jumping" (MPS
15469).
"Hamp" and his All Stars were really into it and brought the audience in the Black
Forest, known as rather reserved, to a frenzy, especially after the break. The old
master worked his magic on the vibraphone, of course, but also played drums
and piano and sang with an irrepressible sense of rhythm as one who had
unmistakably internalized swing. The top trumpeter Cat Anderson was another
internationally known musician in the eight-piece all-star band with which "Hamp"
toured Europe at the time. And there was someone else who was one of HGBS's
personal favorites: pianist and organist Milt Buckner. Buckner's block chords had
not only influenced Oscar Peterson and George Shearing, but also inspired the
passionate piano freak Brunner- Schwer. The live recording with Hampton's All
Stars in Villingen was the last record of Buckner, who died a few weeks later in
the USA of acute heart failure.
The musicians can be heard in exuberant joy of playing, with "Hamp" standing out
sovereignly on vibraphone and drums, as well as Buckner with soulful organ
playing. Everything sounds unspent fresh and cheerful and shows Hampton and
his fellow players in top form. This rousing swing, which should appeal not only to
jazz fans, is available exclusively on LP.
- Unreleased live recording from 1977 in Villingen, Germany
- The last recording of organist Milt Buckner
- High-end vinyl quality 180 gr. vinyl in gatefold, matt finish with embossed
printing

"Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.

The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.

One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.

Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.

The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk. The LP is limited to 500 copies.

The summer of 2016 marked the fortuitous meeting of two talented musicians, Zaidi Kiggundu (Ziggy Funk) and Jamie Mcshane, at a music festival. Sharing a love for Funk, Jazz, and Soul music, the duo knew they had to collaborate on a project together. Both Zaidi and Jamie had established music careers, bringing their unique backgrounds and experiences to the table. They also had their own music labels, contributing to their respective scenes.

Their collaboration began with a series of demo sessions at Jamie's studio in Scotland. Together, they laid down the foundation for their debut album, which they named 'Fortuitous.' This album fused Funk, Jazz, and Soul with a contemporary touch, paying homage to the classic albums of the past that deeply inspired them. Despite facing challenges such as scheduling conflicts and the disruptive impact of the COVID-19 pandemic, Zaidi and Jamie remained committed to completing the project.

To bring their musical vision to life, they enlisted the help of top-notch musicians on horns, including Ewan Mains, Konrad Wisniewski, and James Steele. With their contributions, the album 'Fortuitous' delivers solid grooves and captivating arrangements, showcasing the duo's dedication to their craft. The quality of the music caught the attention of Splash Music, who eagerly embraced the project. What started as a chance encounter and a few simple ideas many years ago has now transformed into a fully realized album, ready to be released to the world for everyone to enjoy.

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

Lndon Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory. Limited to 300 copies on transparent ochre vinyl.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy
Nominated pianist and composer Toshiko Akiyoshi - then known as
Toshiko Mariano
Women have long been denied the credit they deserve in jazz. It must be noted
that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many
fronts. Jazz has been a patriarchy community from the beginning, and even
critical praise of her playing could not help but take note of her gender. Leonard
Feather, for example, writing at the time in the Encyclopedia of Jazz called out
Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but
added that there was "nothing delicately feminine." Even today it is still hard for
people to see Jazz in any other way. We are pleased to be a part of shifting the
narrative and shine a spotlight on this talented artist and this wonderful album.
While she was later to compose using themes, harmonies, and instruments
connected to her Japanese heritage, this album captures the pianist early in her
career playing a straight ahead, harp bop style. This was already her 7th album as
a band leader, and it is a shining example of her confidence and mastery of her
instrument and as a band leader. Recorded at the Nola Penthouse Studios in New
Your City in December of 1960, the LP includes extraordinary liner notes by
Candid A&R man and producer Nat Hentoff giving a context and insight that adds
to the experience of hearing these extraordinary performances

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.

Bristol meets Brooklyn! Produzent Claude Cooper und der New Yorker Sänger Brain Fog liefern gemeinsam eine inspirierte Bonusrunde zu Coopers viel beachtetem, unbändigem Debüt 'Myriad Sounds' (2022) ab. Das Duo hat die Originalinstrumentals zu einem rauen transatlantischen Amoklauf mit punkig-psychedelischen Jazz-Breaks gemacht, die mit allem kollidieren, was New Yorks reiches musikalisches Erbe zu bieten hat.

- 'There's no doubt that this psych-funk/jazz/seventies-soundtrack/hip-hop album absolutely scorches. It's vital and vibrant and exactly what we need to kick start the year.' - Louder Than War**** Album of the Week
- 'Raucous rhymes and blistering jazz breaks make for one rebellious reworking.' Backseat Mafia 8.8
- 'Bristol's beat scene backdrops late night jams.' - MOJO****

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records. Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

Today, powerhouse mande jazz ensemble Balimaya Project announce
their second album When The Dust Settles to be released by New Soil in partnership with Jazz re:freshed on July 21, 2023
A dynamic maturation of the group's thrilling big band sound, When The Dust Settles is a personal and cathartic expression of grief, rage, love and joy.

Fusing West African rhythmic tradition with the energy of London's jazz continuum, the album celebrates the restorative power of Black male brotherhood among diaspora communities in London.

Led by composer/arranger and UK-based Djembe player Yahael Camara Onono, Balimaya Project have established themselves as one of the most exciting and forward-thinking ensembles in Britain.
Enlisting guest vocalists Afronaut Zu, Obongjayar and Fassara Sacko across ten groove- laden and punchily percussive tracks, each song on When The Dust Settles engages intentionally with the significance of folkloric rhythms to illuminate themes that include the death of Camara Onono's older brother, losing a child, becoming a father, migration, survival and a search for truth.

As Camara
Onono describes: "One thing that's really linking us is that concept of family and the bonds are getting stronger every time ... It was important to me to go deeper and address not just tradition and culture, but also address emotion."

The "straight horn" referred to in the title of this superb album from 1961
is the soprano saxophone, and Lacy is recognized as one of the greatest
to ever play the instrument, ranking alongside John Coltrane and Sidney
Bechet
Because of the difficulty involved in mastering it's pitch challenges, very few
jazzmen concentrated on it. Lacy is widely considered the first "modern" musician
to specialize on the instrument. Lacy had long and prolific career and a
fascinating style trajectory. At sixteen he began playing Dixieland with the likes of
Pee Wee Russell. In the mid 1950's he played free jazz with Cecil Taylor, and
appeared with his groundbreaking quartet at the 1957 New Port Jazz Festival. He
made a notable appearance on the 1959 Gil Evens, Great Jazz Standards album.
Along the way, Lacy became obsessed with the music of Thelonious Monk,
working with him several times including the 1963 Big Band and Quartet in
Concert album, and devoted much of this life's work to the interpretation of
Monk's materiel

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

The latest single from The Kevin Fingier Collective, 'My Heart Is Burning’ is an astounding dance floor bomb, and the culmination of Kevin’s three year journey on Acid Jazz. Featuring the three singers - Diane Ward, Jo Ann Hamilton and Josi Dias - who have helped make the Fingier 45s so in-demand. Its an uplifting R&B track which combines an infectious rare-soul beat with a classic girl-group vibe. It will be a must have for any DJ session or house party during these sultry summer months.

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough 'Knee-Deep in the North Sea', and 2010 John Leckie produced 'Isla', to the self titled record 'Portico Quartet' in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester's forward thinking indy jazz and electronica label Gondwana Records. It's an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. Featuring the singles Endless and A Luminous Beam.

Renowned Danish trumpeter Kasper Tranberg reforms his delicate chord-less trio with Nils Davidsen (bass & cello) and Frands Rifbjerg (drums) for the release of "Nobody"s Heart". Active on the jazz and improv scenes since the early 90s, Tranberg has been described as a player of great heart and purpose. Inspired by the iconic improvisers of our time, the album explores the connection between their instrument, their body and their soul. A collection of eight songs that Tranberg has deemed his favorites of the past few decades, the repertoire ranges from tin pan alley legends Rodgers and Hart, to visionaries like Ornette Coleman, to contemporary Danish singer/songwriter C.V. Jorgensen. On selecting the repertoire, Tranberg says "it was not about surface flash, technique or speed, but I followed my heart, my own footsteps and encounters in the previous 2 or 3 decades". Tranberg, Davidsen & Rifbjerg have been performin together since the early 1990"s, united by their passion for an exploratory and unpredictable playing style. With emphasis on stillness, melody, and texture, the record"s tone is melancholy, peaceful, and restorative. Tranberg"s intimate, warm trumpet sound soars above a bed of fluid bass and drum texture, slowly evolving from miniscule and sparse to dense and chaotic. Egoless, mature, and without flash, it is apparent the ensemble holds listening in high regard The trio seems to breathe as one, with each member aiming to make every note and sound mean something. Capturing the essence of each of the songs and making them undeniably their own, "Nobody"s Heart" is deeply personal, meditative and intricate. "Sometimes something else sings through the room and music - not often, but it"s a great feeling when it happens." - Kasper Tranberg

For our 15th release, and the 1st 45pm in our next series of inches, Altered Tapes created a version of "Power" focused on Chill Rob that will hopefully make you forget about Snap completely. Featuring bell-less drum break that we all know and love and the energy turned up a few notches for a Moombahton/ Jazz Dance / B-Boy killer. Includes a hookless, but horny instrumental on the flip side for your cutting pleasure. It's getting kinda hectic! Doubles are recommended.

Chet Baker's Live In Rosenheim is the live recording at the 5th Rosenheimer Jazz Liv(f)e Tage on April 17th, 1988. It is his last recording as a quartet featuring Nicola Stilo on flute, Marc Abrams on bass, and Luca Flores on piano. Chet can be heard on trumpet, vocal and piano with a choice of tunes including Hank Mobley's "Funk In Deep Freeze”, Duke Ellington's "In A Sentimental Mood", Arthur Jobim's "Portrait In Black And White" and more tracks.

Live In Rosenheim is available as a 35th anniversary edition of 1500 individually numbered copies on white coloured vinyl and includes liner notes on the back sleeve.

American record producer, conductor, arranger, and artist Quincy Jones teams up with Clifford Brown and Art Farmer, both on trumpet, along with Swedish musicians to perform 10 tracks originally recorded in 1953 in Stockholm, Sweden. The album 'Scuse These Bloos features original compositions by Quincy Jones such as "Stockholm Sweetnin'“, the title track "'Scuse These Bloos", "Pogo Stick", next to jazz interpretations of "Falling In Love With Love" (from the Musical Comedy The Boys From Syracuse) written by Rodgers and Hart and more tracks.