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This One Is For The Party is the final studio album by The Trammps, originally released in 1984. The Trammps, hailing from Philadelphia, were a prominent fixture in the disco scene of the 1970s. Consisting of Earl Young, Harold Wade, Jimmy Ellis, Robert Upchurch, and Stanley Wade, they were known for their infectious grooves and energetic live performances.

The Trammps earned their place in music history with hits like “Disco Inferno” and “Hold Back the Night”, but also “Shout” and “Move” became disco classics. 40 years after its original release, the tracks of This One Is For The Party continue to fill dance floors at parties and their influence can be heard in modern dance and pop music. The album also features a guest performance by the Dutch female group Mai Tai on “I Don’t Know (One For The Party)”.

"It's a place where people go, again and again. The name of the place is Disco Fantasy Land." These lyrics introduce the title track of this previously unreleased Transport album from 1978. Featuring members of The Gangsters, Ural Thomas' 1960s band, and Nu Shooz, this group has been under the radar since its inception, only recently rediscovered by Albina Music Trust. Though much is unknown, it has been said that this short-lived band was a going concern among heavyweights in the yesteryear of Portland night life. With homemade fog machines and custom electrical light detail, Transport's take on disco-funk calls to mind the clavinet sound of Stevie Wonder's peak period, the glistening groove of A Taste of Honey, and the mystic pastiche that is Dee D. Jackson's cult release, Cosmic Curves. For the first time on record, listeners can finally hear the sounds of this singular Pacific Northwest outfit. Tragically, in their heyday Transport rarely found themselves performing in the city's upscale downtown venues. As was common with Multnomah County's predominantly Black acts, Transport's star shimmered then faded quickly as thinly veiled, racist OLCC regulations circumvented the group's efforts to excel as working musicians in downtown night clubs. In effect, the band's music was redlined to within Portland's only predominantly Black neighborhood, Albina. This session captures Transport at its peak. Helmed by engineer Bob Stoutenburg of Recording Associates, the original session has been exhaustively restored from tape and mastered by Gus Elg. Archival performance photography as well as a reimagined vintage poster is included in the package. The LP features cuts like "Move Your Body To The Music," an ecstatic, sizzling slap anchored by Narvy James' deep pocket and bass-in-your-face courtesy of Randy Monroe's right thumb. "Stay With Me" features the band's manager, Larry Lovely, on lead vocals with heavenly gospel harmonies a la Rosalind Johnson and Regina Irving. And the album's title track unfolds like "2001: A Space Odyssey," with interlocking clavinet and synth washes devised by Albina's ubiquitous keyboard team, the Sanders brothers. Lastly, it is the band's reckoning with cult disco classic "Always There" that takes this record to the limit. Unfortunately, this incarnation of Transport was short-lived and the group split up not long after the recording. While their presence was felt among locals, this small chapter in the group's biography is now readily available for listeners worldwide. The name of the place is Disco Fantasy Land.

After recent sold-out vinyl and cassette releases garnering plays on BBC 6Music and NTS, among other Radio Play, 0282 are back with another choice double-sider.

Travis Street’s ‘Jackie Morris Said’ is an instrumental mid-tempo soul stomper, with Advance copies being very well received on contemporary Northern Soul Dancefloors throughout the UK. DJ feedback has likened it to all-time classic instrumental Mod & Soul numbers by the likes of Googie Renee and Wynder K Frog.

The flipside sees a remix by Barden Juniors, fresh from recent DJ gigs with the likes of Keb Darge, DJ Food, and Doug Shipton from Finders Keepers records. Their wonky angular deconstruction is in the vein of classic European Library Tunes from the late 60s / early 70s, and feedback on promo copies has seen it described as “a lost KPM out-take”, “the soundtrack to a lost public information film from 1973”, and “a time-travelling Kool Keith instrumental”.

It has already had radio play support from the likes of Markey Funk (Delights).

Tuxedo's latest album "IV", released at the end of 2024, was a huge hit, and they will be touring Japan in January, and will also be appearing at
the Greenroom Festival in May this year, so they are always providing fresh topics for their Japanese fans.
The long-awaited new single will be released on 7 inches! "I Like It" is a masterpiece of UK boogie that is familiar from recent live performances and is
extremely popular among enthusiasts around the world, reconstructed with Tuxedo's unique arrangement. "Always" is an R&B tune full of West Coast flavor,
featuring Not So Bad, a local band from Jake One's hometown of Seattle.
This work is also a perfect double-sided work that is sure to appeal to a wide range of people, from die-hard boogie enthusiasts to pop fans!

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

SOUL/DISCO/FUNK SINGLE HERE FOR THE FIRST TIME EVER ON ANY FORMAT!
FROM THE INDEPENDENT UK LABEL SIX NINE RECORDS LTD, BASED IN NEWCASTLE
UPON TYNE, TWO JAZZ PROJECT, THE LATE ENOIS SCROGGINS AND MARIE MENEY
TOGETHER WITH YUKI “T-GROOVE” TAKAHASHI ARE HERE WITH TWO NEW FANTASTIC
SONGS! DEFINITELY NOT TO BE MISSED AS IT IS A LIMITED UK PRESS WITH
SMALL HOLE AND FULL COLOUR PRINTED PICTURE COVER!

The small town of Bremen in Northern Germany has a long musical tradition ever since the Brothers Grimm issued the tale of the Bremen Town Musicians. Now it is the Our Label brothers that bring you music from that very city, which was their own place to be for musical nightlife adventures: Uncle Hammond’s Soul Jazz Movement is a seven piece group honoring the groovy styles of Jimmy Smith and Reuben Wilson. This 45 features their interpretation of two of the bands' favorite tunes. "Greens" is a midtempo boogaloo-ish groove for the dancefloor and "Waltz" was an instant choice by Our Label's Gu for its deep and soulful harmonies. Bothe tracks were recorded live at the famous Studio Nord in Bremen, Germany.

This limited 7“ release comes with a full picture cover.

A great first vinyl release by a great band! Don't miss it!

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them up to share with those who love to share.

"""Show You"" on Side A is ready to explode at Soul Nights around the world. A frenetic driving beat, strong horn charts, great soaring lead vocals, and sweet harmony backing vocals make this an instant classic in the canon of Northern Soul. And better yet, it is a fresh tune! Get yours and be the focus of the trainspotters after all the quantity is gone, bought up and filed into dj's collections.

""I Love Ya"" on the B-Side is a soaring 60s Sweet Soul ballad perfect for cruising on Sunday afternoon in summer. Harmony, check... vibes, check.... lyrics about loving your woman, check... all the boxes have been checked by this side. It is the quintessential compliment to the uptempo flip. The pairing is perfect.

An extra special thank you to Scott Aidlen and West Los Soul for contributing the songs featured on this release. Respect!"

Club Soul are proud to present the first ever reissue of this cult album, now complete with the, previously unreleased, instrumental. It is presented on

180gm heavyweight audiophile vinyl in a single sleeve featuring a Club Soul insert with new sleeve notes.

Dancin’ joins a growing catalogue of premium music on the Club Soul imprint - including crossover hits compilation ‘Shades of Soul’, the ‘All-Dayer’ LP, and

newly compiled albums that celebrate the clubs of the original Northern Soul Scene - ‘The Scene Club’, ‘The Twisted Wheel’, ‘Wigan Casino Soul Club’,

‘Catacombs’ and the forthcoming ‘The Golden Torch’. To the pop buying public Van McCoy is known for his 1975 Grammy Award

chart-topper “The Hustle”, after which he sadly died of a heart attack in 1979 at the age of only 39. To rare soul fans Van McCoy is a hero: THE most prolific

writer and producer of Northern Soul of all time, working with a host of legendary artists including Kendra Spotswood (aka Sandi Sheldon) with whom he had

a five-year relationship. ‘Dancin’ ‘ was originally released by Shelby Singleton in 1976 on his SSS International label, although all the ten original songs were recorded much earlier,

circa 1968-69. With its kitsch cover and out-of-kilter track list, copies soon filtered through to the UK and into the hands of club DJ’s at Wigan Casino with

perhaps “Help Is On The Way” becoming the stand-out track. Richard Searling played the mid-tempo “Just Another Dress Rehearsal” in the latter days of

the club while an unreleased instrumental version of “Ain’t Got No Love” was played post-Wigan from a studio acetate.

The Classic Cuts series takes seminal retro music genres and delivers slightly deeper catalogue next to the more well-known tracks in order to deliver fantastic packages of in-demand floor fillers alongside some lesser known gems.

The compilation market is full of predictable releases, so to have a series that doesn’t rely on the same old tracks could be a breath of fresh air. Available on both CD and vinyl, the range is perfect for collectors, old and new, plus bedroom and event and bar DJs who will see how carefully the track lists have been compiled.

The vast majority of the featured artists are very well known ; Elton John, Barry White, Chaka Khan, Marvin Gaye, Kool & The Gang, Marlena Shaw, Commodores, Diana Ross, The Supremes & Sylvester. But we haven’t always used the most obvious tracks meaning demand will be high, especially for the vinyl, as many of the included tracks are ones that are selling well as reissues but are expensive as one off items (Sisters Love, A Taste Of Honey, Lamont Dozier, Maze, Cameo, Don Covay & The Undisputed Truth).

The series has a breadth and depth of fantastic catalogue with each release having high end accompanying artwork to complement it.

Reclaiming our mantle from Soul Jazz with the sixth in this landmark New Orleans reissue series. While many believed that New Orleans funk began and ended with the Meters, Tuff City Records' Funky Delicacies imprint proved that they were merely the tip of a titanic-sized iceberg of funkiness. Funky Delicacies initiated its Funky Funky New Orleans compilation series in 1997. In addition to releasing solo projects by The Gaturs, Eddie Bo and the Soul Finders, Sam and the Soul Machine, and Senator Jones, Funky Delicacies has extended the Funky Funky New Orleans series through 5 cds and six vinyl releases, achieving international popularity. Having halted the series for personal reasons, Tuff City Records comes back with a vengeance to reclaim our position as the most serious re-issuer of New Orleans funk with the sixth installment of the Funky Funky New Orleans series.










j 10. The Hiccup [Instrumental] - Robert Parker

Artwork / sleeve by Jaffa the Unknown (designer at Numero). Heavy funk overview full of independent classics. A anthology of DJ favorites and breakbeat essentials. Featuring The Honey Drippers, Eddie Bo, The Gaturs, Ike Turner and 16 other tracks.

Artwork / sleeve by Jaffa the Unknown (designer at Numero). Modern soul overview packed with independent crossover classics dating from the late 60's to the 80's. Featuring Willie Tee, TSU Toronadoes, Flame N King, Hermon Hitson and 16 more.

Cultural phenomena streak through popular consciousness like meteorites. There’s a significant, even life-changing, impact made somewhere, but for many it’s only a moment that flickers by, soon to be swallowed back into the cosmos. Chicha might have been like that. Instead, a once-obscure music that enjoyed a fanatic embrace in the Peruvian slums of the 1970s has become a full-fledged global occasion – thanks to the stunning success of a 2007 CD called The Roots of Chicha. The album, released by the Brooklyn-based Barbès Records, was a passionate act of cultural appreciation: a heart-strong effort to turn the world on its ear with something it had never expected to hear. It took listeners back to the late 1960’s, when a number of Peruvian guitarists from Lima and the Amazon created a new electric hybrid, which mixed cumbia, surf, Cuban guaracha, rock, Peruvian folklore, and psychedelic touches. This new wave of Peruvian cumbia came to be known as chicha. Scorned by the middle-class and the official tastemakers, chicha remained mostly associated with the slums of Lima, where the ever-growing population of Andean migrants embraced the music and its players as their own. When Olivier Conan released the first volume of Roots of Chicha in September 2007, he couldn’t have foreseen the kind of impact it would have. The musician, who co-owns the club Barbès in Brooklyn and owns the label of the same name, had fallen in love with the music on a trip to Peru in the summer of 2006. Back in New York, he started his own band, Chicha Libre, as an attempt to share his enthusiasm. Then, he released a compilation of some of the best chicha tracks from the ‘70s. The music quickly found an audience in the US and in Europe. Musicians and DJs embraced it as a lost link between rock and Latin cultures. Accolades flowed from the New York Times, NPR, Le Monde, El Comercio and the BBC. One of its songs was covered by the band Franz Ferdinand, actor Elijah Wood praised it profusely in an interview to Paste magazine. Chilean rock group Los Tres gave a copy of the record to then-president Bachelet, which somehow became national news

LP has a gatefold jacket with OBI. Contains a 24 page booklet with extensive liner notes and photos. Contains a download card for WAV files of the album and the bonus tracks. The complete collection: Every soul, funk, gospel, rock track from Indianapolis’s greatest label on a 4 CD set. Sometimes, all it takes is one man to recognize a city’s potential for an industry. In Indianapolis, that man was Herb Miller, and his business was soul and funk. He came to prominence long after Indy’s allure as a jazz destination waned. He founded LAMP Records in the late 1960s to wake Naptown from its musical slumber. Miller served a critical role in city’s burgeoning soul and funk scene, providing not only financial backing, but acting as a one-stop, record-making shop for artists that had, to that point, been doing it all themselves. He’s the Berry Gordy you’ve never heard of. His roster – national acts like the Vanguards and Ebony Rhythm Band alongside talented, regional acts such as the Moonlighters, Montiques, Pearls and the Words of Wisdom Truth Revue – rivaled that of any American independent and paved the way for the ascension of 80s and 90s hitmakers Kenneth “Babyface” Edmonds and Antonio “L.A.” Reid, both of whom cut their teeth with LAMP alumnus.

DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC).

Be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time- on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia.

Also you gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork.

Be sure to get your hands on this limited peace of work before it's gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.

Limited Edition PICTURE DISC LP
Celebrating its 10th Anniversary, the Los Angeles indie/electronic record label Friends of Friends presents a very limited edition picture disc LP. Side A is made up of some very popular songs in the catalog from the likes of Shlohmo, Baths, Perera Elsewhere, Somni & Indian Wells that have never been pressed to vinyl.
Side B is comprised of covers from the FOF catalog and brand new material from the FOF10 digital compilation.

• Jacket are patterend with alchemy and astrology symbols
• Fold-out maze of gold foil and metallic ink
• Origami sleeve transforms into magnetic pyramid sculpture

Following on from the acclaimed Modern Jazz Dance Classics Volume One compilation, we here at MJDC are pleased to announce the arrival of Volume Two. Again selected by our very own Jeff The Fish, here is another collection of contemporary club jazz which will please jazz DJs everywhere.

The collection is eclectic and includes artists from the world over, from the Netherlands (Marutyri), France (Electrophazz and Pj5), the UK (Wild Card), Catalonia (Carxofa), Japan (Fox Capture Plan and Yusuke Shima), the US (Niki Haris, Brian Charette, Mario Cruz and Nicole Banks), Germany (Markpaulnorton), Finland (Nina May) and Azerbaijan (Shahin Novrasli).

A bit about how these MJDC compilations came about:
For some time now on the continual hunt for new DJ material to play in the jazz scene, Jeff The Fish has been coming across great tracks by current artists that are often only available on digital or CD format, and we aim to compile and press this music onto vinyl so that DJs can play them in jazz sessions.

Following a discussion between DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, Staubgold created the new sub label MJDC to do this. And here we are, the second volume of contemporary club jazz which we hope will inject new music into the jazz dance scene. If you are a DJ, we hope you will find some of these tracks indispensable in your set, and if you are a collector, we hope you will find this a great listen and addition to your collection.

Numero GroupVarious Artists:Eccentric FunkTwelve unstoppable deep funk burners from across the Numerosphere. A smorgasbord of sounds from R&B’s dapper younger cousin. Loose guitars and chunky drums lie in wait for discerning break-makers to finely chop and flip. The only funk record you’ll ever need to own.

In the vast world of Library Music, Philopsis with its enigmatic cover artwork stands as an exception. Philopsis was
released in 1978 on Freesound – a sub-division label dedicated to French composers of the UK based publisher Ambient
Music.
At the source of the project - which has gained cult status in recent years - there is Jacky Giordano, a mysterious
musician whose name rhymes with excitement to any of those who have heard his productions on mythical labels such as
Montparnasse 2000, l’Illustration Musicale, Musax, Sonimage, Timing. Very little is known about this French musician and
producer, who remained mostly in the shadow: once an accountant and later a label boss, Jacky Giordano produced and
co-signed many titles under many pseudonyms. For a period of time he was the conductor for the Crazy Horse revue. He
also composed for maverick film director Jean-Pierre Mocky. He is even co-credited on Bernard Fèvre’s masterpiece:
Black Devil Disco Club. Later on, his setbacks with the justice in the late 2000s revealed a darker side of the persona, yet
Jacky Giordano remains one of the most fascinating creators of the golden age of Library music. Among all of his
confidential discography, Philopsis is undoubtedly his masterpiece.
Library Music has its detractors: some will say it is uninspired music for documentaries, radio jingles or erotic productions
but it is unlikely that Giordano had in mind to illustrate this kind of productions while recording Philopsis, an album of an
astonishing coherence. Accompanied by Yan dY's - probably Yan Tregger (an alias for Edouard Joseph Scotto Di
Suoccio, another forgotten hero of Library Music) and by Francis Personne - an obscure musician who later worked as a
sound engineer on many zouk productions of the 80s - Jacky Giordano experimented a lot: the result is an airy and rough
low-fi jazz-funk with clear inspirations from the musics by Lalo Schiffrin, Herbie Hancock's Headhunters, Ennio
Morricone, Jean-Jacques Perrey, Nino-Nardini and even Brian Eno.
Confidentially distributed at the time of its release, original copies are now almost invisible, and market price have reached
crazy amounts in recent years. Making Philopsis available again sounded like an evidence. Digger's Digest and Listen!
Record Store team up to offer you a strictly limited reissue of one of the cornerstone of Library Music, rehabilitating at the
same time the work of one of the most intriguing desperados of the French music industry.

In partnership with Arts Council England, London-based record label PLZ Make It Ruins have today announced a 40-track compilation of original loops from popular artists across the spectrum of contemporary music. Each track is exactly 1.8 seconds long and has been crafted with the intention of being looped repeatedly, creating a uniquely hypnotic rhythm. The compilation is set for release on December 4th 2020 with net proceeds from the release as well as the project's merch package being split between ACLU and Liberty UK - organisations that fight systemic inequality on both sides of the Atlantic. Among the list of contributors are Blood Orange, Arca, Clairo, 100 gecs, Kenny Beats, Dominic Fike, Four Tet, Floating Points, label head Vegyn and many more. Artwork for the project comes from Isha Dipika and Travis Brothers. Please see below for a full list of participants. The phenomenon of locked grooves is something that has captured the attention of DJs and record collectors alike for decades; the final note on a record forming a coherent loop as the album comes to a close, creating its own abstract beat. This abstract beat is then used by DJs as a tool to seamlessly blend tracks after the song's final moments. This purpose is the genesis of the idea behind the project, allowing popular artists from all genres of music to give their own take on the formula with a host of different sounds and atmospheres. The project launched today with a one-off special on NTS, hosted by Vegyn, that explores the music of all the project's contributors, as well as including a mix created from all 40 loops on the project.

• From the mod 60s the legendary Brunswick label had the cream of Chicago soul, with the hits by Jackie Wilson and The Chi-Lites to go with it. But beyond that, in the cracks and crevices they has some of the greatest and most influential rare soul, and this compilation brings you the best of that.
• So we have the classics which defined the genre by the likes of the Adam's Apples with their Don't Take It Out On This World, Marvin Smith with the Have More Time, Leroy Taylor with Oh Linda and of course Jackie Wilson's opener The Who Who Song.
• We have more recent discoveries such as Tony Drake's spectacular Suddenly, The Sweetest Thing by Channel 3 Billy Butler's pounding George Clinton written 'I'll Bet You', and Jackie again with the swaying Because Of You.
• In between we have rare and collectible records by The Artistics, Gene Chandler, Jackie Ross and more. Together original copies of the records contained on this LP would cost you thousands, all gathered here for the price of a round of drinks.
• Pressed on 140g black vinyl with new artwork and printed inner sleeve

• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions African RARE GROOVE A journey at the heart of Nigerian afrobeat from Orlando Julius to the ethnojazz of Alemayèhu Eshèté passing by the High-life of the Ghanaian Ebo Taylor...

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Brazilian RARE GROOVE Discover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions French RARE GROOVE This "French Rare Groove" volume offers us a oneâÇ`way ticket to France from the late 60"s to the early 80"s. From confidential releases to forgotten movie soundtracks, discover the grooviest tracks from the french scene. Have a good trip!

A wild and funky collection of Afro grooves that was ahead of its time in 1977 and has become a collector’s item in recent years, especially due to the growing international interest in Colombian picó sound system culture. Fruko and his studio bands Wganda Kenya and Kammpala Grupo treat us to a diverse set of African and Caribbean styles, laced with crazy synths, psychedelic guitar and infectious pan-African polyrhythms. By the time Discos Fuentes released the album “Wganda Kenya Kammpala Grupo” in 1977, Wganda Kenya’s discography was expanding with many 45 singles and appearances in various artists collections. The group’s 1975 debut record “África 5.000” was a full length LP in the U.S. and a various artists compilation in Colombia, which was followed by the self-titled long player the following year. However, Kammpala Grupo, which shared the album’s title and was credited to three songs on the record, had never appeared before, yet was basically the same studio group as Wganda Kenya. Most likely the creation of this short-lived studio band was just a ploy by the label to make it seem like there were more groups playing the type of exotic afro tracks favored by the picotero DJs of Colombia’s Caribbean coast (especially in Barranquilla and Cartagena). 1974 Discos Fuentes’ management had sent musician, band leader and producer Julio Ernesto “Fruko” Estrada to the coast on an A&R mission to discover what people were dancing to in the verbenas (communal open air neighborhood parties) run by the owners of picó sound systems (decorated mobile DJ rigs). Always game for an adventure, Fruko was tasked with bringing some popular examples of these esoteric, hard-to-find African, French and Dutch Antillean records back to Medellín to serve as inspiration (or to outright copy) so that the label could enter into the growing regional market and spread its popularity to the interior of Colombia and other Latin American countries via its own studio creation, Wganda Kenya. Fuentes was always returning to exploit the rich African-rooted culture of the coast as it had with the cumbia and other regional genres before, so in a way it was not surprising that they were attuned to this particular niche phenomenon from a marginalized sector of the population. The most popular genres with the champeta dancers in the 70’s and 80’s were styles like Congolese rumba, highlife, afrobeat, juju, mbaqanga and soukous as well as the music of Haiti, Guadeloupe, Martinique, Curaçao and Dominica, all of which were fiercely guarded by the DJs who had managed to acquire them often through extreme means of travel, barter and intense digging. The record kicks off with the joyful ‘El Gallo Africano’ which features exquisite interplay between Sepúlveda’s highlife style guitar and an authentic-sounding African style saxophone, perhaps played by Carlos Piña. In reality it was ‘Go Call Police Chief’ by prolific Nigerian highlife guitarist Chief Oliver Sunday Akanite, aka Oliver De Coque. Next up is Kammpala Grupo’s ‘La Yuca Rayá’ (‘Grated Yuca’), written by Isaac Villanueva in a style he termed son haitiano which sounds much more like Zimbabwe Shona mbira music. Wganda Kenya’s ‘Caimito’ (star apple, a type of tropical fruit), on the other hand, is actually a cover of a relatively well-known Haitian merengue song. Kammpala Grupo then takes us from the French Antilles to the multi-cultural discotheques of Paris, where a cover version of Black Soul’s Afro-boogie anthem ‘Black Soul Music’ is retooled and renamed ‘King Kong’, perhaps in a nod to the 1976 remake of the monster flick of the same name. Side two introduces us to the infectious merengue rebita of Angola via ‘La riphyta’ with “Paparí”, aka Mariano Sepúlveda, doing the vocals and faithfully replicating the Angolan guitar style. ‘La Trompeta Loca’ (‘The Crazy Trumpet’), probably the nuttiest track on the album, is an ingenious cover of ‘Ye Gbawa Oo Baba (Tribute To Nigeria)’ by Joe Mensah of Ghana. As with all their covers of African tunes, this rendition tightens up the original with some pop sheen, more consistent drumming and higher production values, remaking it into a powerful slow-burning dance floor filler. This is followed by one of the most powerfully original songs to come out of the entire Wganda Kenya project, Mike Char’s reggae anthem ‘El Nativo’ with Joe Arroyo on vocals. The record ends on a more authentically Caribbean sounding note with the instrumental ‘El testamento’, a cheerful islands banger with bright brass, syncopated calypso beats and chunky cuatro guitar (or ukulele). The original was in the mento genre and titled ‘Sweet meat’, written and recorded by Jamaican trumpeter Bobby Ellis. First time reissue. 180g vinyl.