Suche:m fix

Dallas-born Roger Kynard Erickson, better known as Roky Erickson, is a legend of psychedelic music and culture. Playing piano at five years old and guitar at ten, he dropped out of high school in Austin shortly before graduating, since the school dress code demanded short hair. In 1965, his group, The Spades, made an impact with “We Sell Soul” and the following year, The 13 th Floor Elevators burst onto the scene with debut album The Psychedelic Sounds of the 13 th Floor Elevators, but the band’s non-conformist attitude and open endorsement of drugs such as marijuana and LSD put them in repeated conflict with the authorities. Then, in 1968, during a performance at the San Antonio edition of the World’s Fair, known as HemisFare, Erickson began speaking incomprehensible nonsense on stage, leading to a diagnosis of paranoid schizophrenia and confinement in a Houston psychiatric hospital, where he was forcibly given electroshock therapy. The following year, after being busted with a single joint, Erickson pleaded not guilty by means of insanity, leading to a 3-year stay in Rusk State Hospital, with further electroshock and Thorazine treatments. Following his release Erickson formed a group initially called Bleib Alien, which evidenced a more hard-rock orientation, later renamed The Aliens, though Erickson was also working with Austin’s The Explosives in the same era. Aliens material produced by Stu Cook of Creedence Clearwater Rival was issued by CBS and an independent, 415 Records. Then, in the early 1980s, Erickson became fixated with junk mail and unsolicited letters, writing to lawyers and celebrity figures on a regular basis; in 1985, solo mini-LP Clear Night For Love was produced at Music Tracks in Austin by bassist/guitarist Speedy Sparks, with former Joe “King” Carrasco and Delbert McClinton drummer, Ernie Durawa, plus Supernatural Family Band alumnus John Reed on guitar. Released by France’s New Rose label in small numbers, the release found Erickson back in semi-psychedelic/country rock mode on opening track “You Don’t Love Me Yet,” the plaintive “Starry Eyes” and the anthem-like title track, while “The Haunt” is more in swamp/horror rock vein and “Don’t Slander Me” has heavy blues leanings.

For the last decade German jazz saxophonist and composer Uli
Kempendorff has been an invaluable fixture on the Berlin jazz scene,
quietly but steadily honing his own sound in countless contexts
In 2012 the band Field evolved from his first group, the Uli Kempendorff Quartet,
becoming the first vehicle to truly reflect his erudition and curiosity. The band's
first two albums are superb, but they didn't quite attain the approach
Kempendorff had been searching for, so at the end of 2017, he remade the lineup,
replacing original guitarist Ronny Grauper and drummer Oli Steidle with
vibraphonist Christopher Dell and drummer Peter Bruun.
What makes 'Someone Talked' such a visceral, thrilling listening experience is
that all four members push each other, collegially, to infuse a delicious tension
into performances distinguished by constant give- and- take and quicksilver
alterations.

Blossom Dearie was part of the NYC beboppers scene that often gathered at Gil Evans’ apartment, was in the social circle that began developing “Birth of the Cool” and at the same time was a fixture in the Jazz clubs of the 1940’s.

The legendary jazz producer and founder of Verve, Norman Granz, heard Blossom singing in Paris and offered her a contract.
She returned to New York to record her debut album produced by Norman Granz in 1956. The LP spotlights Blossom as a chanteuse and pianist.

Miles Davis once said, “she was the only white woman who had soul”, while Bill Evans noted her playing really “knocked him out”.


PLAYERS:

Blossom Dearie, piano, vocals
Ray Brown, bass
Jo Jones, drums
Herb Ellis, guitar

Red Marbled Vinyl

REMASTERED

Grönland Records announce a revised, remastered reissue of “Sleepwalkers” by DAVID SYLVIAN. Available as a gatefold 2LP with exclusive art print and as a gatefold digipack CD, this new edition also features the previously unreleased track “Modern Interiors”.

in the 00s, DAVID SYLVIAN produced two of his strongest and most solitary statements, BLEMISH and MANAFON. but those records don’t tell the whole story. during that the same period, SYLVIAN created an alternate body of work: a series of collaborations and side projects with leading talents of pop and improv, electronic and contemporary classical music. the best of these recordings are gathered here on SLEEPWALKERS, meticulously sequenced and remixed: the fruits of one-off meetings and lifelong partnerships, they jump from bliss to intrigue, romance to sensuality, as arch experiments lead into the lushest pop.

the single ‘world citizen – i won’t be disappointed,’ written with RYUICHI SAKAMOTO, is a sublime example, with an impeccable melody and lyric warmed by SYLVIAN’S gorgeous tenor. SYLVIAN has worked with SAKAMOTO for close to three decades. by contrast, on ‘pure genius,’ a collaboration with CHRIS VRENNA aka tweaker, he sounds like he’s walked into a heist flick, singing the part of a delusional, dangerous bedroom genius. as sylvian explains, tracks like this ‘give me a chance to write in a way that’s completely non-personal, playful. it’s an exercise of some kind, working within the parameters of a given assignment.’

intrigue of a different kind drives ‘sugarfuel,’ with music by JEAN-PHILIPPE VERDIN, aka READYMADE FC. the lyrics offered ‘an opportunity to grapple with a more overt sexual theme than anything i’d previously attempted, as suggested by a vocal sample in the original track provided, a threateningly insistent ‘i’m on your side.’ so i took that as my point of entry and ran with it. i would love to write more on this subject should i find the right context. you’re always aware of walking a thin line exploring sexuality with language alone. the failings of the great and the good are strewn all around.’

NINE HORSES’ ‘wonderful world’ strolls in on a black tie bassline and the echoing coos of swedish chanteuse STINA NORDENSTAM, whose high chirps brush hands with SYLVIAN’S lead; there’s the blistering ‘money for all’ by FRIEDMAN and SYLVIAN, an oblique response to the fallout of 9/11 and the war on iraq. this is followed by the last known recording of SYLVIAN’S singing voice in over a decade, ‘do you know me now?’, a live studio recording later augmented by JAN BANG, EIVIND AARSET and ERIK HONORÉ. it’s certainly a title that’s become more relevant over time as SYLVIAN, in the latter stages of his career, repeatedly comes face to face with a new generation of admirers fixated on the life and times of the band formed by his younger self. SYLVIAN is one of only a handful of musicians to have successfully moved on from overt pop beginnings into a domain all his own but is consistently plagued by the misguided desires or expectations of some unfamiliar with his evolution to do a u-turn, pick up where he left off in the late 90s. although this compilation, as well as his writing for NINE HORSES, adequately shows SYLVIAN’S traditional love of melody is
intact, that it’s consistently remained part of his output, there’s no denying his focus has shifted, evolved.
the refusal to embrace complacency, the need to cover new ground ‘as older generations of popular musicians have a moral duty to explore despite, or because of, the greater possibility of failure’ will, i believe, lead to a reassessment of his later work that embraces a sightly more complex relationship with what we’re referring to as ‘melodic’, accompanied by an exploration of improvisation without dogma or beholden to any ‘givens’ for which he’s not infrequently been castigated. for SYLVIAN, there are no such boundaries. it’s obvious that different facets of his work co-exist without conflict but not necessarily for the majority of his audience. again, this places SYLVIAN in the odd, rare, unenviable(?) position of moving forwards leaving many in his devoted audience behind as, should he decide to return to music, it’s unlikely he’ll be aiming to placate an audience in love with work that preceded the 00s. in fact we’ve no idea where new work, should it surface, may lead.

SLEEPWALKERS also spotlights the innovators who contributed to MANAFON and BLEMISH. CHRISTIAN FENNESZ hangs a crackling, shimmering curtain behind the vocal on ‘transit,’ matching his signature mass of sui generis sounds to sylvian’s stately performance. and the title track began with an instrumental handed to SYLVIAN by MARTIN BRANDLMAYR of POLWECHSEL, soon after the first recording session for MANAFON. spite crackles in the gaps between the percussion, and onkyo artists TOSHIMARU NAKAMURA and SACHIKO M set the stage for the scathing lyrics in the chorus.

it cuts close to the bone and so do the two spoken word cuts, ‘angel’ and ‘thermal,’ produced by SAMADHISOUND recording artists JAN BANG and ERIK HONORÉ (and featuring ARVE HENRIKSEN on trumpet). SYLVIAN describes the latter work as a ‘love poem’ to his daughter. ‘‘thermal’ reflects on a period when our time in sonoma, ca was coming to an end. we’d stayed in temporary accommodation which had lulled us into a false sense of security. we had pear, apple, lemon, and figs trees growing in the yard. a small but exotic paradise. a cocoon. but the cracks were beginning to show in the relationship between ex-wife INGRID CHAVEZ and i which is where i think this underlying sense of anxiety, which runs throughout the poem, is derived from, coupled with the need to provide physical and spiritual stability to the children, the youngest of whom was just under two at the time. the poem is addressed to her. our world was dissipating, coming apart at the seams, but we were an island unto ourselves.’

‘five lines’ marked the start of a new partnership with acclaimed young composer DAI FUJIKURA, who at the time of recording was also working on remixes of MANAFON for what became DIED IN THE WOOL. the string quartet was performed by the celebrated ICE ENSEMBLE and written for SYLVIAN, who FUJIKURA cites as an early influence. says SYLVIAN, ‘the composition moves through numerous changes in time signature but as i had no knowledge of what these were i just relied on my gut instinct, and responded, as i always do, with what felt right to me, composing an entirely new melody in the process. some months later i was working in a studio in london and dai dropped by. i rather tentatively asked if he’d like to hear a rough mix of the song as it stood, painfully aware that my contribution might make no sense to him at all but, to my relief he loved the result.’

there’s one further new addition to this collection, the first official release of a track composed in response to the tsunami in fukushma, ‘modern interiors’, featuring SYLVIAN once again in collaboration with BANG and AARSET.

like 2000s EVERYTHING AND NOTHING, SLEEPWALKERS is a retrospective of a particular decade when SYLVIAN was free of major label interference and could follow his own instincts without having to explaining himself – but it’s also an eye-opening complement to his solo releases. as SYLVIAN explains, ‘some collaborations seem to be a one-off exchange but you can never be too certain of that fact. others have been long term. in this respect, RYUICHI comes to mind. there’s others with whom you hope to continue working as you feel you’ve barely scratched the surface. other times offers come out of the blue, welcome, inspired. regardless, it’s wonderfully explorative to have so many possibilities to juggle with. each collaboration seems timely. it’s as if there’s a rightness to the exchange at a given moment in time.’

in the meantime, we hope you enjoy the work presented here, personally selected, remixed and sequenced and entirely remastered. these are the orphans, abused, estranged, exotic, migrating from diverse corners of the globe, brought together under one roof which they're learning to share despite their differences.

‘as many of you will already be aware, despite relatively continuous work on solo albums, i’ve maintained strong ties with a number of musicians throughout my life in one context or another. on this new collection, let’s call it SLEEPWALKERS 2.0, a selection of collaborative work produced over the period encompassing blemish through to manafon, i’ve included compositions by nine horses as well as more fleeting flirtations and one-offs. neglected offspring. represented also is long term friend and writing partner, RYUICHI SAKAMOTO, as well as more recent but potentially equally productive partnerships such as CHRISTIAN FENNESZ, ARVE HENRIKSEN and contemporary classical composer DAI FUJIKURA.
i hope you enjoy the work presented here, personally selected, remixed and sequenced and entirely remastered. these are the orphans, abused, estranged, exotic, migrating from diverse corners of the globe, brought together under one roof which they're learning to share despite their differences.

we contain multitudes. we’re nothing if not contradictory.’

DAVID SYLVIAN, 2010

(consistency is contrary to nature, contrary to life: aldous huxley)

Having initially met more than a decade ago at a local community radio station, sometimes doing guest slots on each other’s live, improvised noise shows, Cormac Culkeen and Dave Grenon knew they had a mutual interest in working with sonic textures. They listened to each other’s bands for a handful of years, and in 2017, “made good on a threat” that they’d been making for quite a long time: to start a band. At Cormac’s gentle but clear urging—declaring that they’d gone ahead and booked a space in which to record a video—the two wrote their first song, “Sebaldus,” an ambitious 12-minute trip, which also serves as the fireworks finale to their self-titled debut album. With surges of pathos that smooth out into something more soothing in turn, Cormac goes: “The hunter, you’ve seen him / The archer, his arrows are strong / And hunger, you’ve known her / I know the winter is long.” The track is as much about enduring a Canadian winter as it is about the eponymous 8th century hermit, shot through with sublimated desire. As Cormac put it, Joyful Joyful’s songs are “a little bit outside of time.” But while the lyrics beg close, oblique reading unto themselves, there’s also a distinct sense that they’re only one of many more ways that the duo shapes sound. Cormac, whose voice is like a sea with irregular tides, lights up about an idea in traditional sean-nós Irish music that songs already exist and are out there; it’s up to the singer to become the conduit. This belief in music as something to be channelled, and something more than sound, resonates with the singer’s fundamentalist religious past. To paraphrase: lots of group singing, harmonies, no instrumentation, totally unmediated, no priest, congregational—not choral, not a performance, not about talent, the spirit moves through people. “Of course that informs how I think about singing,” Cormac says. So, when they were exiled from the church because of their queerness, they took the music with them, dislocating it from its dogmatic bounds but not from its transcendent potential. This record might be thought of, then, as a kind of queering of sacred, devotional traditions—or at the very least, a space where all of these things can be held at once. Perhaps perceivable by some as contradictions, these intersecting influences create the conditions for an incredibly singular sound. Dave is steady and exploratory in his handling of this multiplicity, arranging sounds as they’re revealed, corralling them, coaxing them into form. “Because Dave is there,” Cormac says, “I get to sing three times higher, and three times lower, and faster, and backwards, and all of these sounds! That are there. They’re all there.” When asked about early musical memories, Cormac recalled an immediate fascination with harmony: from demanding that the first person they ever heard singing it explain what they were doing, to always (still, to this day) singing in harmony with their twin sister around the house, to being part of a children’s choir that sang soprano in Handel’s Messiah—not realizing until they entered the room with all the other ranges that their learned melody was but one part of the whole. Just as tellingly, Dave reflects on his early attraction to “abstraction and becoming abstract,” describing childhood afternoons messing with microphone and speaker feedback loops, producing long, enduring sounds with almost undetectable variations. In a way unique to the coalescing of these two listeners, notions of harmony are central to their output. Dave samples field recordings, old keyboards and synths, and vocal drones, running the live singing through four or five parallel effects chains, sampling and treating everything again in the moment. “Another way to put it is that Cormac’s voice comes into the board and then comes back out shifted, delayed, and shattered; Cormac and I hear it, live with it, and respond,” Dave says. This work is contingent not only on a deep intuition (neither of them read sheet music) of polyphony and due proportion (something St Thomas Aquinas famously listed as an attribute of beauty) but also on their connection to each other and ability to read subtle cues. Dave says they’d hold each other’s hands while performing if it was more convenient to do so, riffing on something else Cormac mentioned about traditional Irish singing: that someone would always hold the singer’s hand, for fear that without a tether to the ground they might find themselves utterly lost, unsure how to return. Joyful Joyful doesn’t shy away from offering such experiences of departure; they’re willing to unsettle their audiences because they themselves are unsettled. Their shared penchant for spooky, heavy music, and self-described “omnivorous” listening practices equip them with an array of sonic concepts that support this effort; Diamanda Galás, The Rankin Family, Pan Sonic, Pauline Oliveros, Keith Fullerton Whitman, Yma Sumac, and Catholic hymnody were just a few that came up. Observing their audience gives them insight about the effect of each song—something they considered while arranging the album. Its arc is marked by soft, sometimes sudden oscillations between cacophony and euphony, day and night (listen for insects), and from sexual, visceral entanglements to more ephemeral, celestial ones. Front to back, it arouses expansion, unraveling. Of lightning, Vicki Kirby writes: “quite curious initiation rites precede these electrical encounters. An intriguing communication, a sort of stuttering chatter between the ground and the sky, appears to anticipate the actual stroke.” By all accounts, something similar seems to happen at Joyful Joyful shows, between those on the stage and those off it, between what’s earthly and what’s beyond. “A lightning bolt is not a straightforward resolution of the buildup of a charge difference between the earth and a cloud … there is, as it were, some kind of nonlocal communication effected between the two,” writes Karen Barad, extrapolating on Kirby’s thought. Cormac acknowledges that while they and Dave play a role in this mysterious charge that comes about, they’re not solely responsible. However ineffable it may be, it’s undoubtedly a form of communion—and a sensuously shocking one at that

"bit by bit" is the first full-length release from Toronto-based singer-songwriter Evan J Cartwright. This self produced album from the go-to drummer/collaborator (The Weather Station, U.S. Girls, Brodie West) presents a highly singular songwriting vision that combines existential lyrics with masterful musicianship. Steeped in jazz melodicism, Cartwright’s trumpet-like phrasing mixed with contemporary composition presents an eclectic art song performed by an artist that could perhaps be best described as a post-modern Chet Baker. Deep poetic observations on love and time paint an affecting picture of an artist reflecting on life’s universal truths. Visual in nature, "bit by bit" places its audience within a world of musical leitmotifs extracted from field recordings of bells and birdsong. Collected during years of touring, these sounds evoke extant spaces beyond that which the music inhabits. The use of this source material in its unaltered form evokes the feeling of a technicolour European film at one moment and then, as the extrapolated melodies are meticulously translated into electronic tone bank sequences, a modernist setting the next. One carillon melody is used as the basis for a wealth of the album’s musical material before its origin is finally revealed by the chiming of bells in the last seconds of the album. The result is a fragment of space between the constructed world of the musical compositions and the candid world of documentation, inviting the listener to ponder whether those two worlds are distinct or whether the songs and music are not simply “field recordings” themselves. Throughout "bit by bit" Cartwright drops staggering revelations hiding in plain prose that often involve the contemplation of time. In I Don’t Know he states “if I only trusted time / then I would wish it all away” and nearing the album’s end he opens impossibly blue with the phrase “the impossible truth of time”, playfully inserting a pregnant pause before the word time. A drummer’s fixation, to be certain, the album’s recurring theme of time is eclipsed only by Cartwright’s contemplation of human relationships. Here he elaborates on some of the album’s subjects: “Many of the lyrics circle, and try to give a name to the illegible space between human beings. “i DON’t know” celebrates the fact that we will never truly understand what love is. Its message is one of assurance. It says that we can never really touch love, and that is ok. “and you’ve got nobuddy” refers to life’s great tragedy: that we are unable to read each others’ experiences, and in reaction to this, we separate ourselves.” The entirety of "bit by bit" is a continuous work. There is seldom a clear demarcation of where one piece ends and another begins and when this does occur, it is done crudely, as if someone is flipping through a series of broadcasted channels. At times words are sliced right out of their lines and replaced by pure tones. This is both a comical interpretation of censorship and a reminder that there are things in life that will forever remain unseen and illegible. In fact, this statement lies at the centre of the LP and although hidden beauty does reveal itself through repeated listenings, "bit by bit’s" eccentric world remains just out of reach — an imaginary second story room viewed from a crowded city street.

Inspiration can strike anyone at any time, and more often than not from somewhat peculiar quarters. Rarely more so than when Sam Grant - thus far best known as guitarist and producer of Pigs Pigs Pigs Pigs Pigs Pigs Pigs - finally set about work on a solo project that had been pursuing him for some years. “I want people to imagine that feeling of rubber - its physical memory, the unnatural vibe of it. It’s so tactile but alien. It’s an odd analogy, but that’s what this music is for me.”A specific gravity is one more property that rubber has going for it, and that much is certainly true of Rubber Oh’s debut album ‘Strange Craft’, the result of his elasticated fixation, and his debut album of deliriously tuneful sci-fi tinged psychpop. It’s a unique soundworld in which an emphasis on beguiling melody marries a kaleidoscopic grandeur. Widescreen gems like the warped interstellar voyage that is Children Of Alchemy and the unshakeable earworm Hyperdrive Fantasyare all vibrant colour and celestial energy, setting their psychic stall out somewhere between the incandescent headspace of a ‘70s sci-fi TV show and the red-light-fever of the overheated ampstacks Grant has been historically more familiar with.Ultimately, for Grant as well as everyone else, Rubber Oh amounts to one strange trip - “Many of the lyrics are about alchemy, journeying and vessels, as interchangeable metaphors for knowledge and wisdom” he says. “I wanted to mesh the land and sea, the cosmos and the psyche across the tracks as one single plane” Mission accomplished, in short. This Strange Craft is fuelled up and ready to accept all comers on a ride into extensions through dimensions01

For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few. He maintains a relentless release schedule, and we are very grateful that he found the time to make his return to Kompakt after his well received 2021 “Internal Destination” EP.

The track “So Deep” lives up to the title. A soulful vocal and sincere house beat simmer through an eerie soundscape loop. “Deeper Shades” keeps the vibe of the A Side and makes for a serene and moody deep house journey of epic proportions. Last but not least, “March Of Freedom” brings out the best of Orlando’s visionary production. Sweeping synths and sounds cascade into a momentous track that fits the peak time or in those eternal late night sets.

In the constant state of flux that house and techno are in since their inception, Berlin’s Sascha Funke is at once a fixture and an emblem of the city’s transformations. Probably best-known for his work on BPitch, Kompakt or the evergreen MZ, Funke’s EP for Running Back is an amalgamation of sounds, influences and atmospheres. Subdued rave euphoria, robotic disco-influenced techno-pop and hints of Berlin’s long gone „Dubmission“ party ethics get re-arranged, extracted and reconfigured with „German engineering“ values.
Take the ritual QAM for instance. Using a sample and the legendary morse melody of the weather forecast at the end of each „Tagesschau“ and putting it in a completely different context, is a prime example of a free-form approach to making music and making nostalgia future-proof.
That also holds true for the rest of the EP. While titles like FEZ (Freizeit- und Erholungszentrum) or SEZ (Sport- und Erholungszentrum) refer to lost places in East Berlin, the tracks are anything but. Yearning, precisely programmed and full of joie de vivre at the same time, they all lock into and complement each other. So much, that you will find a new favorite with every listen.

In the years since their formation, WhoMadeWho have established themselves as one of the most important underground bands of their generation. The Danish group, consisting of Tomas Høffding, Tomas Barfod and Jeppe Kjellberg, has an exceptional sense of emotional depth, heartbreaking melodies and brilliant songwriting, boasting an expansive discography currently spanning a total of six albums and a plethora of EPs, singles and remixes released on labels such as Kompakt, Innervisions and Life & Death. On the road, they are internationally renowned for their professionalism and outstanding live performances and have become regular fixtures at some of the world’s most notable musical festivals, including Roskilde, Sonar, Melt! and Burning Man to name just a few.
The in-demand Scandinavian outfit now confirm details of their upcoming long player, UUUU. Set for worldwide release on Friday, May 27, via long standing German record label Embassy One, UUUU is the seventh full-length studio album from WhoMadeWho. A beautifully crafted record featuring thirteen original productions.

Eine Italo Disco Rarität aus dem Jahre 1983 jetzt wieder als
12“ Maxi Single erhältlich:

Mauro Micheloni & F.M. Band - Looking For Love
Auf Seite A gibt es die raren Original-Versionen und als
Highlight auf Seite B zwei neue und exklusive Remixe von
Flemming Dalum und Vanzetti & Sacco

Though the past three years have seen Andrew Bird busier than ever - between his acting debut in FX limited series Fargo, a long-awaited collaborative LP with Jimbo Mathus, an instant-classic Christmas record, a nonstop series of live streams, an original score for acclaimed PBS documentary Storm Lake, and more - “Inside Problems" picks up where he left off with 2019’s GRAMMY-nominated album, My Finest Work Yet. Produced by Mike Viola and Recorded at United Recording featuring musicians: Alan Hampton, Madison Cunningham, Abe Rounds, Jimbo Mathus, Mike Viola. Andrew Bird will be touring Europe in the summer including Shepherds Bush London in July Available on CD, Black LP.

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)

'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's

Time')

'Rapid-fire guitar work with variety and energy' – The Guardian, UK

'A great guitarist' – Tony Allen

'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')

'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands

like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)

Jazzwise Review

The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.

Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

7" Black Vinyl in Kraft Board Company Sleeve (300 made). Broadside Hacks release their brand new single “Barbry Allen”, a fresh take on the traditional folk ballad which has its earliest recorded reference in a 17th century diary entry. Broadside Hacks means many different things. It is a sprawling collective of young musicians who meet regularly for casual, open-to-all jam sessions at a South London pub. It is their live iteration, a more fixed – but nevertheless still flexible group of players who have been performing acclaimed shows across Britain for the last year, bringing in local musicians as they go. There is also the Broadside Hacks record label, which put out the compilation ‘Songs Without Authors Vol. 1’ last September: a diverse array of left field artists injecting fresh life into songs whose original authors have been lost in time. Beyond even that, there is the film ‘The Broadside Hack’, exploring a wider network of London musicians employing traditional folk influences in vastly different ways, from caroline’s multi-genre experimentalism to Shovel Dance Collective’s forthright politics, of which Broadside Hacks are just one crucial part.

Provogue / Mascot Label Group will re-issue Nothin' But Love and In My Soul from the Robert Cray Band as part of their ongoing special re-issue campaign. The albums will be released on 140g light blue vinyl on 6 May 2022.

Before Madvillain, before Yesterday’s New Quintet and before Quasimoto or any other of his several alter egos, Madlib perfected his craft as an MC/producer in the Lootpack. Along with DJ Romes, and fellow rhymer Wildchild, they released the dusty full-length, Soundpieces: Da Antidote back in 1999, that laid down the foundation for the unique and dusty sound now associated with Madlib. The loose, freeform recordings on this collection are circa 1996 when the group was managed by Madlib’s father, and they show the now-renowned maverick producer in comparatively restrained form. Madlib’s scope and imagination was clearly fixated on East coast jazzy hip-hop production from the early ’90s, laying down soundscapes for his hungry crew including the likes of Kazi, Declaime and Medaphoar, who have all become well known underground rap vets. Madlib’s own strong mic presence is noticeable given his now only-on-rare-occasion rhyming, but it’s his production that is the most fascinating element here. While a resolutely hip-hop project, the burgeoning jazzy flourishes and Madlib’s heavily accomplished ear for sound makes the record an important starting point for adherents of his more recent exploratory work.

Since the release of his debut album ‘Interplanetary Radio’ in 2021,

Unglued has continued to storm his way to the top of the drum & bass world with one of the most versatile back catalogues in the scene today.