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official re-issue / 180 grams

Holy-grail private-press "Attack Of The Boogie" from 1984 by Andrew Kitchen very own Chicago artists who represented and still represent the most underground side of Chicago dance music as a worldwide inspirational and always forward-thinking scene. The official reissue comes courtesy of Andrew Kitchen himself via Seminato (Strictly Groove) with the help of other two cutting edge artists like Pepper Gomez still from Chicago and DJ Rocca from Italy. Fully restored reissue now available for you.

When it comes to smooth jazz vibes with soulful melodies, nobody in the lofi scene can avoid producer Flughand and saxophonist steichi. After a few successful singles, they have now completed another album titled "mandue”.

With less notice than a surprise Imperial attack, news of a new Krash Slaughta vinyl 7″ has arrived in the monkey’s inbox and it’s hotter than the barrel of an ion cannon 5 minutes into a major combat situation. The 45 in question is Rebel Base, Admiral Slaughta’s secret new dance-floor weapon and evidence of an alliance with mic pirate Phill Most Chill – a man famed throughout the galaxy for his light-speed flows. With beats edging past the 130 bpm mark and insane scratching, this one will have b-boys and girls amped to do the Kessel Run in fewer than twelve parsecs – even without a ship capable of jumping into hyperspace. What else do you need to know? Well, firstly, the flipside features Krash’s own remix with added Sith Lord intro. Then there’s the fact that with a name like Rebel Base it would be rude not to do a limited 300-pressing run featuring cover art pastiching the classic Kenner Star Wars figure blister packs with a ‘Hoth Blizzard’ splatter-pattern vinyl. If you want that though, you’ll have to leave on the nearest transport now. If your movements are delayed because you’re fighting a rearguard action against Imperial troops or something, hope still exists in the form of the standard black vinyl version in a sleeve featuring an attractive black and pink design. What’s that? Imperial troops have entered the base and the last transport just left?! Where’s the ‘Falcon?

For over 40 years Orchestre Poly Rythmo de Cotonou has combined traditional Beninese music with soul, funk, afrobeat, rhumba and Cuban rhythms to create this infectious sound...

Hailing from Benin, West Africa, Orchestre Poly Rythmo de Cotonou has been churning out incendiary Afro grooves since 1966. On 'Bosq Meets Poly Rythmo Uptown,' Bosq tastefully reworks 4 of Orchestre Poly Rythmo's legendary recordings. As a die-hard fan, Bosq took a subtle approach to the project. According to him Orchestre Poly Rythmo has been a strong influence on his work and he wanted to be respectful to the original tracks. Bosq focused on making the tracks DJ friendly by beefing up the low end, rearranging and stretching parts out, and adding in extra percussion and a drum machine. The result is a 4-track EP of bumpy Afro disco, psychedelic funk, frenzied Afrobeat, and sunny soulful grooves.

Based in Medellin, Colombia, Bosq has released a collection of music on Ubiquity Records, Soul Clap Records, Fania Records, Razor-N-Tape, and more. Since 2015, Sol Power Sound, out of Washington, DC has released deep sounds inspired by rhythms and traditions from around the globe. The label's output includes Afro-Latin stompers, re-edits of lost disco grooves, heady percussive tech workouts, and other sonic treats.

Four stone-cold classic Orchestre Poly Rythmo de Cotonou tracks re-shaped by Bosq for the dancefloor today...

DJ Feedback:

GILLES PETERSON - All sounds great to me. You've got my support on this EP. I will play for sure.

MAX ESSA - These kind of sweaty afro-disco flavours always light things up real nice at Bar Bonobo in Tokyo. Four irresistible tracks to choose from here - this will never leave the bag!

JUSTIN ROBERTSON - Orchestre Poly release is massive! That's radio tackle for sure..

DOM CAPELLO YES I like this a LOT!

LTD editon - Orange vinyl and high quality download codes

Homemade synthesizers, banjo, guitar, recycled toys and broken electronic beats .. there’s more to Solo Moderna than just an unconditional love for analog tweaking. From his native town of Tilburg, Netherlands, Multi-instrumental virtuoso Bas Voorn is peaking in on all corners of the world, infusing Mento, ska, cumbia, Balkan, dancehall, dembow or afrohouse, into his minimal, joyful, 8-bit, approach towards electronica, to create strangely syncopated, ridiculously infectious grooves. It’s as if Kraftwerk and Señor Coconut went on a trip to Africa, the Balkans, the Caribbean and South America, and "Republica Moderna" emerged from these adventures. From the Balkan-Dembow of “Escúchame Como Soy” and the cumbia of the Washington-based Empresarios in “La Bandolera”, to the sun- kissed, afrohouse vibe of “Sonido SID Africano” and the west African “Republica de chonta”, Solo Moderna gleefully shifts from the acoustic to the synthesized to create a surprisingly coherent work. For Solo Moderna, life is not something to be taken so seriously. Instruments are toys, and Earth and it’s cultural diversity a playground. It is this unique lightheartedness and flippancy, moving you to smile, dance and enjoy life as it is, that makes Solo Moderna one of the few artists you can recognize immediately after an 8- bar snippet of a song heard in any club around the corner. Republica Moderna, his 3rd album to date, is a vibrant, delightfully upbeat, timeless homage to the world’s musical diversity.

This is GCLP157
It's an Orange LP and brings download Codes

Music Mania and Indica Dubs is proud to present the 18th release: The Sacred Art Of Dub! Featuring two of the UK Dub top legends and pioneers; Alpha & Omega and The Disciples! This killer album was originally released only on CD format in 1998, and now on vinyl for the first time - over 20 years later + 2 bonus tracks!

This album includes the killer ‘Roaring Lion’ known by everyone across the Dub and sound system scene! Played heavily by all top sound systems!

This release will be a one-time limited edition on white colour vinyl for Record Store Day April 2020.

Presenting the platinum certified (RIAA) “Best Of” that has never before been released on vinyl. Includes the Holiday favourite “This Christmas” as well as his famous duets with Roberta Flack “The Closer I Get to You” and “Where Is The Love”. This collection been the go-to for Donny Hathaway fans old and new for 30 years, now pressed here on Dark Purple Vinyl.

Bordello A Parigi presents a compilation of demo tracks from the legendary Italo Disco icon: Federico di Bonaventura, better known as Fred Ventura. These demo tracks were supposed to remain secret until Fred started to digitalize them from tape a few years ago. Most of these tracks were part of the transitional period between the exit from his early 80's band State Of Art and start of his first solo project Actor's Studio and career as Fred Ventura. A versatile treasure of lost music recorded from 1982 until 1984 in Milan, Italy.

Comes with double front sleeve and printed inner sleeve.

"Lost Ark Music" proudly present to you another labour of passion "Praying for the Angels" by Pura Vida. 'The heart of the Last Ark' is beating on the riddim of the drums" ... Play it loud!

"Crawling" is about Puraman's personal struggle in life (...) trying to blend a stepping, jazzy reggae groove with some psychedelic stuff, Pieter De Naegel & Mathieu Vilain provide some "Last Ark Fyah Horns". "Song to Bob" is Puraman's tribute to Bob Marley, with a haunting Bassline provide by Aston "Familyman" Barrett, Orginal Wailer (...) His son Aston Barrett Junior hits the drums like Lightening!

"When the right time come" was recorded in an oldschool fashion, Recording the riddim in one take (...) Puraman on Vocals and Guitar, Boris Perck on the bass, Xan Albrecht on the drums, Wouter Rosseel on Lead Guitar. Bos Debusscher provides a wicked synthline!
Are you ready?

"Pretty Stranger I wrote this song for you... You shurely look like danger but that's what I like about you". Pura Vida goes Psychedelic Rock (...) "Les Eaux Sauvages" is a Love-Song with the Wonderfull voice of Nina "Vitalia" Schelfthout!

"O sopro de Inae" features the warm voice of Alessandra De Queiroz...Straight from Brazil she came to the Mare Altar forest under the guidance of Maarten Rosa in search for the "Arka Perdida".
This song has Portugese Lyrics, praying for the Spirits of Iemanja and Inae (...) The Spirits of the Ocean! "Find a way Home" is a Soultune features Alessandra De Queiroz!

The Title Track "Praying for the Angels" is another combination of Puraman & Alessandra's voice. In a Sixties Psychedelic Spirit (...) Singing about the Lost Souls dwelling the streets of the Ancient City! It was recorded on Puraman's Birthday (...)

"And the lights of the city, drive them crazy. And there's nowhere to run (...) And they're praying, hear them praying for the Angels...".

"Blessings from the Last Ark" features the amazing voices of Roydel "Ashanti Roy" Johnson, Derrick "Watty" Burnett & Kenroy "Tallash" Fyffe from 'The Congos'. Ashanti Roy provides the Bassline and Percussion. Watty & Tallash provide extra magic percussion. Puraman on Vocals, Melodica & Guitar. Pieter De Naegel & Mathieu Vilain play humble and bright on this Deep Roots Tune. Blessings from the Ark. Beyond Time & Space (...)

"Ancestor Spirit Dance" is an Afrobeat inspired tune features the voice of Puraman's Great-Grand-Mother Mathilde Spruytte, who
was a local folk singer.

DEBORAH JORDAN is back! The long awaited followup to 2010’s “WHAT YOU SEE". This album of soulful phuture soul and R&B is being hailed as an “Instant future classic". Hauntingly beautiful, her most heartfelt and emotionally charged album to date. Help from K15, MARC RAPSON and SIMON S.

Looks like we are hittin’ a milestone here. A little background has to be provided though, in order everyone to fully understand why it took us that long to put out this Album, which was already
announced at the dawn of 2020. The ELECTRIFIED project started almost 2 (TWO) years ago, with the first vocal takes recorded a few days ahead of Cannonball Weekender in November 2019. Everything seemed fine and in good working order so the release date was
planned and announced for june 2020. All self financed, self conceived and self realised in that style that’s a point of distinction of our small group of labels. Then the CVD damn thing kicked in. “So What?” some of you would be very entitled to ask. And,
believe me, I’d be on the very same
#sowhat lines as you, only that each member of our team reacted to the shitstorm in his very different and individual way. While folks all over the world were confined home
setting up new ventures, creating new labels and dedicating themselves to something productive not to get psychologically annihilated by the media induced fear, our project was totally disrupted instead. It took the first wave to fade away to gather our stuff
together and movin’ the production forward. Anyway, whatever the reasons, the album came ready and mixed by march 2021. So here we are. Further than the two acclaimed singles
“Break Free” and “Sitting On Top Of The World”, the tracklist includes 6 completely new songs, a smashing cover of
Massive Attack’s “Unfinished Sympathy” and the rearrangement of the two classics
“There Are No Winners” and “Mother Got A Way”. The style goes from modern funk experimentation to a more classic soul and a groovy electronic ender foreseeing the future of this beautiful music.

For our fifth release, San-Kofa presents Meanwhile. Meanwhile harmoniously intersects rhythm, melody and harmony in a 19-track story drifting through Hip-Hop, percussive Ethio rhythms and grooves with modern UK influences and hints of Afro Jazz. In contrast to his earlier sample-based days he now records everything in his studio. Throughout Meanwhile you’ll also hear Kunde’s voice being used as a colorful layered and diverse instrument.

Ed Banger Record proudly presents his new signing : MAD REY.
Mad Rey is co-founder of D.K.O Records & Red Lebanese labels.
His brand new 5 Track EP includes the single “Joe da Zin “ feat. French Rapper JWLES, launched on June 11th with a video directed by Mad Rey himself.

Mali Hayes has been simmering to the surface for a while now. Emerging from a Manchester jazz community that's enjoying its own renaissance away from the much-reported on London scene, the vocalist and songwriter's bittersweet neo-soul sound is trans-Atlantic – think initial progenitors such as Erkyah Badu, D'Angelo and Jill Scott – but is rooted in Manchester's mixed communities and the different walks of life she encounters.

Forgive You / Come Closer – owes itself to Gilles Peterson and Brownswood Music's Future Bubblers programme, when Hayes met producers Cult Architect and Medikul while part of the mentorship scheme. Airplay from Gemma Bradley, Victoria Jane & Mo Ayoub on Radio 1, Jamz Supernova & Gilles Peterson on BBC Radio 6, Victoria Jane on BBC Introducing, Jamz Supernova on Selector Radio. Features in Clash Magazines 'Next Wave' playlist and Spotify's 'Rhythm & Groove by DJ Taro' playlist.

The two tracks come out as part of a new series of 7" releases from Manchester institution Band on the Wall and their new label Band on the Wall Recordings. Based out of the iconic music venue, charity and cultural hub, the label builds on a successful compilation released to raise funds during the Covid-19 pandemic

Second slice of Channel One
Disco Purpose Rhythm Excursion.
Back to back classics from the Hookim brothers Maxfield Avenue outpost.
Pressed on opaque vinyl and housed in a limited edition Channel One disco bag.

Dam's illest son Kid Sublime, teams up with Georgian badman Dj and Producer Mishulino and jazz piano protege Beka Gochiashvili to form the group TURBULANCE.

A mutual love for the Broken Beat sound and Kid Sublime’s Hip-Hop backbone resulted in this project morphing together in Kid’s studio over a period of 5 weekends in between Beka’s tours with Stanley Clarke recording the sessions. The final result being nothing short of an exemplary example of the ongoing renaissance of bruk fusion.

From Hip Hop to Brokenbeat to Bosanova to House to Fusion Jazz...this album captures the energy and late night boozed out studio sessions on tape!

Already hugely supported by Gilles Peterson as well as Bugzintheattic's Afronaut and Mark Force. Definitely an album worth jumping on for all deejays and selectors into dutty future rare grooves and classic beats. Limited edition DJ friendly double pack White vinyl available to pre order from Friday 30th April 2021 from coopr8.bandcamp store.http//turbulance.bandcamp

TRAMP RECORDS is extremely proud to present an absolute unique treasure to celebrate our 100th ANNIVERSARY release.

Originally released as an ACETATE with two copies in existence, this is not only spiritual jazz-funk as good as it gets but certainly one of THE rarest records of the genre.

Repress

After over five years since we've released the first chapter, we are nearly ready to drop "Steppin' Forward" 2, which will be our final release of 2019. This time the compilation includes 16 previously unreleased tracks from 27 artists and will be out on the 29th of November across 3x12" vinyl and digital.

Artwork by FromTheTrunk crew.

By 1971 Pharoah Sanders' playing essentially alternated between two moods: ferocious and peaceful. This live record gives one a good example of how the passionate tenor sounded in clubs during the early '70s. Sanders is joined by an impressive group of players: trumpeter Marvin "Hannibal" Peterson, flutist Carlos Garnett, Harold Vick on tenor, pianist Joe Bonner, the basses of Stanley Clarke and Cecil McBee, drummers Norman Connors and Billy Hart, and percussionist Lawrence Killian. On the 20-minute "Healing Song," the lengthy "Memories of J.W. Coltrane," and the two-part "Lumkili," Sanders is heard in top form.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

JJ DOOM is the artist name for producer/vocalist Jneiro Jarel and British-born, mask-wearing maverick DOOM (AKA MF Doom).The nine track EP features tracks from the expanded Butter Edition of the duos debut album 'Key To The Kuffs' including DOOM collaborations with Clams Casino, BBNG, Del The Funky Homosapien, Beck, Thom Yorke & Johnny Greenwood. Originally released in 2014 as a limited edition picture disc, now available in 180g black vinyl.

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space age production from Jneiro Jarel can't fail. In practice it's even better. DOOM is in the form of his life here." Mojo
"No less quotable than he was in '99... heavy on the diabolical brainiac grifter guise that's fueled his post-KMD creativity for some 15 years, balancing knowledge and absurdity like a master." Pitchfork
"... it's poetry. The way he freeforms his verses and puts it all together, I don't think anyone else quite does it like that... GUV'NOR was my single of 2012. It's genius, that tune." Thom Yorke, Dazed

Reprint of this classic hip-hop / beats EP by 20Syl, beatmaker maestro, former member of Hocus Pocus & C2C.

Moon Riders Is A Brand New Duo Formed By Esko Boogie & Ivan Makvel, The 7" Comes With A 80's Influenced Modern Funk A Side With The Collaboration With The Queen Of The Modern Funk Movement, Moniquea, And An Explosive Gfunk/r'n'b B Side With The Voice Of Ivan Makvel.

The Old School Hip Hop Sampling Tecniques Of Esko Boogie Mixed With The Synthesizers Performed And Arranged By Ivan Makvel, Creates The Perfect Mix In Between Hip Hop, R'n'b, Funk & Soul.

These DJ DSK edit instrumentals were pressed up after many requests from DJs who wanted them, they can be used with the vocal versions, create new mash ups or just played as a track in their own right. It is also a great bonus that some of the original tracks do not even have instrumentals available.

When Will We Learn sees O$VMV$M reunite with Gloucester voice of thunder Rider Shafique for the spiritual successor to 2017’s Lion (LAVA LAVA). These tracks have been circling around in various forms for a few years and graced dancefloors / soundsystems from Riga-Bristol-NYC - but for various reasons are only now coming to light. The A side features Rider delivering a wake up call / warning over a Computer Paul via Radiophonic workshop style rhythm track while on the B side Dj Neek sends it through the desk on the fly and strips the instrumental down to its core essence.

Two brand new names for the Brazil 45's series.
'Olhos Coloridos' is an 80's MPB/boogie jam, thats sits perfectly
alongside the likes of Maia, Valle, Jorge and Olivetti. Backed
here, by some of the members from Banda Black Rio.
Taken from her self-titled 1982 LP on RGE Brazil.
'Bons Tempo Sao Paulo (Good Times)'
Originally released on a rare promo only 7" from 1980, this is a
Brazilian boogie version of Good Times by Chic / Rapper's
Delight, voiced by radio DJs from Sao Paulo especially for the
Christmas holiday season!
The replayed version of 'Good Times' stands up to the Chic
version, and the added cuica heavy percussion breakdown gives it the true Brazilian flavour.

WeMe Records & Cunz Dimension join forces to present the first-ever vinyl release by legendary flipper & Cunz Dimension co-founder Solomon Angelo Inspired by jazz, jungle & joy Solomon tantalizes you w/7 explosive tracks that are sure to make everything & everyone move, groove & stamp their hooves No horseplay, this is the real deal - FLIP IT!!!

Das Debütalbum des Brooklyner MC's Joey Bada$$ aus 2015, der gekonnt den 1990er Flair in die Neuzeit transferiert und oft mit Nas verglichen wird. "B4.DA.$$" erreichte auf Anhieb die #1 Pole Position der US-Rap-Charts und Top 5 der Billboard-Charts und verkaufte über 54.000 Einheiten in der ersten Woche. In Europa gelangen dem Werk mehrere Top 40-Platzierungen, u.a. im UK (#28) und der Schweiz (#24). Es zählt zu den besten Hip-Hop-Alben des Jahres 2015.

After their much heralded debut on the label with last year’s Music Mission EP, Italian collective Babe Roots returns to V.I.V.E.K’s System Music with a brand new four track project entitled Through We EP.

Quiroga is back on Really Swing providing an extensive set of tracks in his typical style, a breezy and ear pleasing affair with his longtime friend and collaborator Dario Bass.

“Dabbler in Love” is a sunrise-ready boogie affair with stunning chords and bass progression summed by a twinkling Rhodes solo; “Kundabuffer” drives into more jazzy territory delivering throbbing basslines over a 4/4 latin beat while “Villa Lysis” is a laidback piano soundscape over a lately bassline on a Capri sunset.

On the flipside “Snaporaz” named after the Marcello Mastroianni’s character draws a housey jazz atmosphere with an astonishing bassline reminding of Kaytranada’s groove. “Drum’n’Bass for Papa” closes out the release - an homage to Plug/Luke vibert where chord progressions fuse onto a Squarepusher-Pastorious esque bass lead. Rock on!

The Sunburst Band & Sunlightsquare have got together for a one off special titled ‘Perdoname’. A full live band sound featuring vocals from Rene Alvarez and Susana Ysabel along with a whole host of top players.

Dave Lee provides a tight slice of jazz-funk on his ‘Latin Escapade’ version whilst Sunlightsquare offers a warm and hazy club mix perfect for the beach side. Completing the package those soaring vocals are laid out as an acapella providing the perfect tool for any set.

Dumi Right and the late Cadence of Raw Produce were frequent collaborators who connected after becoming label mates on the fledgling Domination Records. This led to a number of incredible creative works including a project called Alternate Reality. While much of their work has since seen the light of day, this song remained, unheard and locked in the vault until now. Produced by Cadence, “Opposite Day” features each MC hilariously playing the role of a rapper rhyming about things totally contrary to what they would do in reality. The song highlights all too common contradictions inherent in much of the commercial rap that is popular today. The “Nightfall” is another dope track by Dumi Right that features Mr. Lif in a cautionary tale about working to not get caught up in negative cycles. Nightfall serves as a metaphor for falling victim to the darkness and self destructive activities that would lead one down a dead end path.

Jimi Tenor going back to riff-based territory on this 7" collaboration with DJ Sotofett. A-side's Kontula Mix leans heavily on a robotic guitar riff, strong punching drums, layered psychedelic vocals, energetic drama and feeding drop outs. Wania Mix on the B-side inverts electronic with organic drums, red-threading the bassline and accompanying keyboards with electrifying breaks and solid state dubs! Heavy duty upfront cosmic funk!

GRAMMY AWARD WINNER LEON BRIDGES ANNOUNCES THIRD ALBUM GOLD-DIGGERS SOUND; LAUNCHES ALBUM WITH TRACK “MOTORBIKE” FEATURING VISUAL DIRECTED BY ANDERSON .PAAK.

After a long break, finally Discom have a new release and a pretty interesting one: official edition of the group who pioneered jazz-funk in the former Yugoslavia: Misa Blam i Oni Koji Vole Funky! This 12″ record on 45 RPM contains three songs from impossible to find EPs from the 70’s and one fantastic previously unpublished track !

Mihailo “Misa” Blam (December 15, 1947, Belgrade, Yugoslavia – June 19, 2014, Belgrade, Serbia) was a Yugoslavian, Serbian and Jewish jazz musician (double bass player, arranger, composer), concert producer and publicist. Leaving a career in classical music (he was the only Yugoslavian musician who played in Berlin Philharmonic Orchestra conducted by Herbert von Karajan), he achieved a significant musical career as a jazz bassist- double bass player in New York, Munich, Israel, Dominican Republic, and Uganda (in Ini Amini’s court) and in Yugoslavia He played with Chet Baker, Frank Mantooth, Clark Terry, Ernie Wilkins, Alvin Queen, Hannes Beckmann, Tony Scott … During the period between 1982 and 1999, he has been involved in 16 recording sessions in the field of jazz. Under his own name he published the EP ’’Misa Blam I Oni Koji Vole Funky’’ (Diskos), 1975, LP album ’’Secanje”, (Beograd Disk) 1979, and cassette ’’Good Old YU Days” (1993).

The record opens with a song called “Dobro Jutro ” (Eng. Good Morning), a track you will get in love with when you hear the opening 4 bars with Misa’s bass funky licks and Slobodan Markovic’s incredible ARP Odyssey riffs. Effective drums breaks, well structured electric piano solos and consistent funky rhythm-a good old 70’s jazz funk production. In the same groove we continue in לילה טוב eng. (Eng. Good Night), a song which is releasing here for the very first time. Two new instruments appear: congas and guitars developing the initial groove and enriching the sonic landscape. This progression is even more exciting in the next song “Laku Noć” (also means Good Night) when the magical sounds of ARP Odyssey and it’s percussion responses are added to the same rhythmic pattern. However, the groove culminates in the final song “Gorila” (eng. Gorilla) on B side, a fantastic playing by a group which shows off its lavish talent in full color: finest drumming in tandem with smooth Fender jazz bass figures, fulfilled with five amazing solos: on tenor saxophone, guitar, electric piano, Wah bass and inevitable ARP Odyssey at the end! A gig that could easily open the performance of some of the jazz rock giants such as Billy Cobham & George Duke Band on Montreux Jazz Festival in 1976 for instance.

Those who are not familiar with rare jazz funk groove records from Eastern Europe, will welcome this album with surprising enthusiasm and admiration. Others will enjoy the quality sound of the 45 RPM record which is cut directly from original master tapes and appreciate that they can finally afford the gem they have searched for years. We will be pleased to point out the contribution that this fantastic group has made to world’s jazz-rock. For the archive and for the future!

*Repress*

Color de Trópico is a carefully-compiled work of healing and reconstruction, documenting a special moment in the history of Venezuelan music, when the country’s democracy was just a few years old and the profound impact of the oil industry on society had only just begun. DJ El Palmas and El Dragón Criollo have chosen eight impossibly hard-to-find jewels, originally released between 1966 and 1978, reissued here for the first time on vinyl.

In this period, Venezuelan musicians assimilated a wide range of influences and styles, both local and global, to generate something new, a “modern” identity for Venezuelan music; artists who set their eyes on the future without giving up the search for their own sabor (flavour). This is how jazz, rock, salsa, funk, psych, prog and disco, sat next to guajira, cumbia, cha-cha-cha and even the hugely-popular Venezuelan style of joropo. It started a long tradition of Venezuelan musical pioneers, many of whom are still to get the recognition they deserve.

Seconds after the needle drops on the vinyl, “El Despertar” (“The Awakening”) kicks off things with a goodbye for it was the last single Los Darts released before their dissolution in 1974. In the 60s they became the youthful face of pop, however, “El Despertar” settles into a later maturity, having digested the tumult of the times. A cha-cha-cha rhythm with bossa nova piano, bluesy stylings and a Caribbean context – a blueprint for tasty miscegenation – with the use of electric guitar, arriving in waves of chords, signalling the onset of modernity.

“Guajira con Arpa” by the pioneering Hugo Blanco, who lists the creation of countless rhythms and his early adoption of rhythms like ska amongst his claims to fame, is a fusion that arrives without complexities. It approaches indigenous forms from a multitude of different angles, yet in the middle of its Caribbean approach it creates a melody so close to the pajarillo that the song seems to flip on its head.

With “Zambo” the party is on. Here we have an all-star line-up comparable to master Cortijo’s brief project with his Time Machine in Puerto Rico. Alex Rodríguez, one of the most important jazz guitarists in Venezuela and his Retreta Mayor give a twist to the fusion by daring to venture into Latin jazz, funk and salsa.

“Gaita Universal” by El Combo Los Capri, gives us a moment of solace, recalling the cultural, rhythmic and even spiritual brotherhood of Venezuela not only with the Caribbean but with the continent, South America and neighbouring Colombia. This cumbia is special, it interweaves musical phrases in the style of a popular party wanting to propose the permanence of culture. Rhythm is the point of union between all human beings and, as its name indicates, its proposal goes beyond the physical and particular. It’s pure tropical hedonism.

Nelson y sus Estrellas reminds us once again of the Caribbean wave but here under his “urban” outfit. Nelson plays guaguancó in the style of original salsa, specifically in this version (the theme evolves over time) with a disco-soul twist on “Fantasía Latina”. It takes the sound of early masters like Eddie Palmieri but is developed with eclectic elements, a climatic structure in which a trumpet with vibrato, salsa-rock riffs with acoustic guitars and a flute that, unlike the charangas in those that Johnny Pacheco partook at the same time, rather have a cinematic character.

The cosmic “Tu y Yo” from Almendra plots a journey between soul-jazz and psychedelia that sails over a Moog until ending as a P-Funk descarga. Despite the fact that the principal instruments are an organ and a synthesizer, the acoustic guitar provides a unique colour. A tropical psychedelic journey from beginning to end seasoned with congas.

The album closes with Tulio Enrique León y Su Organ playing “Bimbom”, a European pop-styled track from 1975. It’s a version of Bimbo Jet’s Eurodisco “El Bimbo” that immediately became famous among popular easy listening orchestras throughout summer in Europe. Tulio Enrique shines by turning it into an enigmatic and spectral cumbia. Tulio was an organist whose blindness did not prevent him from becoming one of the most popular artists in the world, as cited by Billboard in 1965.

We have left the politically-incorrect “Socorro, Auxilio” by Germán Fernando for the end. According to music journalist Alfredo Churión “those who saw him attested to having witnessed something indescribable”, a mysterious man who doubted even his sanity and of whom today practically nothing is known. He was someone who dared to show a completely foreign effrontery, signing unintelligibly, moving frantically and throwing himself to the ground before the stunned gaze of his audiences. Venezuelan writer Luis Armando Ugueto states: “his art could go from the sublime to bad taste – and it was craved by the press – when he subjected viewers to strange songs where he pleaded for socorro and auxilio help.” Germán Fernando had a histrionic proposal that was a thousand times misunderstood and that even popular presenters of the time like Renny Ottolina dubbed “his follies”. A theme close to the jazz orchestra soundtracks of James Bond and Batman accompanies the showman here who comes across like a creole Screaming Jay Hawkins. He creates a whirlwind of sound that, while as agile as a featherweight, is also capable of knocking out all the old ideas we had about Venezuelan music.