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Guymon Ensley is a renowned trumpeter from Los Angeles and with Bernard Gibson on lead vocals they have provided an uptempo jazz soul crossover gem. On the B Side we have chosen an instrumental version of the song which has never previously been released.

This beloved 1963 Impulse! LP is a career highlight for both Johnny Hartman and John Coltrane. Hartman was apparently Coltrane's suggestion for the recording date, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner.

"Tony Lugo and Mats Gustafsson never met.
Drums & electronics. Sax & electronics.

A connection was made through a mutual record label and friends.
Music was sent back and forth.

A third player was invited. The machine.
AI tools and algorithms. Interactive improvised music. Extended techniques of humans and machines. Learning processes.
Autopoiesis. Illogicity.

'Can a machine be responsible for its actions?' asks Christian Munthe (Professor of practical philosophy at Göteborg University, Sweden) in his essay Who is the player?

FLESH JAZZZ?
The new jazz? The old jazz?
WTF IS IT?
PLAY IT LOUD."

This album is the rarest of Soul Jazz’s Deutsche Elektronische Musik series!

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

Edson Frederico double featuring tracks from his sought after and VERY pricey 'Edson Frederico E A Transa' LP.

'Tava Mas Nao Tava' is a psychedelic boogie-samba fusion with 4/4 drums and traditional rhythms alternating throughout.

'Bobeira' is a jazzy samba-MPB workout, with bubbling rhodes, layered backing vocals, horns, percussion and whistles.

Previously unreleased on 7'.

Haz Mat is an ambassador of the Detroit vibe in all its diversity, limited to 500 copies.

Volume 6: JAZZ N PALMS returns with another selection of some of the most iconic sunset, poolside sounds to be heard at Pikes Hotel (Ibiza), reworked, retouched and edited for your listening pleasure.

A trusted taste, JAZZ N PALMS warms up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes, fusing jazz sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and the sun of the Mediterranean sea.

Acid Jazz proudly presents: Orchestre Les Volcans Du Benin - Vol. 1!

Originally released in 1980 on the Albarika label, 'Orchestre Les Volcans Du Benin Vol. 1' has long been a holy-grail LP for Afro-Cuban music aficionados.

It now sees its first official reissue through Acid Jazz and is available for the first time with four infections tracks, including 'Oya Ka Jojo': Latin dancefloor dynamite, and a DJ must-have.

Remastered by Frank Merritt at The Carvery, further igniting these killer recordings.

"Music gives a soul to the universe, wings to the mind, flight to the imagination, and life to everything." - Plato.

Music is an innate sense that taps into our very core. It exists on a prism, and the range is infinite, for anyone to think they've heard everything would be imprudent. Inspiration strikes in a myriad of waves, acting as a cascading waterfall in which each idea is a droplet converging into one stream. Music doesn't know the rigid constraints of exclusivity. Preferences and ideologies can mould an individual; circumstance and fleeting moments require different melodies throughout the part being played by each being in the cosmos.

As each moment calls for an explicit sound, so too does Axis with it's latest release from the heterogeneous Raffaele Attanasio. The multifaceted Italian has delivered an eclectic sound over the years, from devious techno to melodious rhythmic beats. Attanasio delivers a jazz-tinged, angular, progressive and championing album by coalescing influential factors: a musician father, a multifarious palate in music, and prowess as a multi-instrumentalist.

Nuovo Futuro is creating a new future by travelling to the past. Digging into the Zeitgeist of Naples post-second world war, Attanasio extrapolates the sound to present day, combining modern flair with an enriched sound. The influence of American blues and jazz is felt in his hometown, celebrating the lore of Neapolitan musicians through the track 'Parlesia'. The history comes to life through these compositions, influenced by 70s spaghetti films and rich Italian exuberance. Ardour, lust and avidity ensnare the listener in 'Indagini Sospette'. This album is a journey through the streets where he grew up, but also, encapsulates a wandering mind, meandering into the harmonious Mediterranean under the watchful eye of Mount Vesuvius. 'Equilibrio Dinamico' is a snapshot of the working mind of Attanasio, balancing the impromptu of jazz with a gentle caress of his honed craft. Melodies are soft, smooth, progressive and fulminating the constraints of contemporary music. It emanates a renaissance for a sound that Axis is espousing in their releases.

Tania Maria is a singer, composer and piano player from Brazil. It was a period in the early 80s that she became popular on the latin jazz, soul and fusion fans with her albums for the Concord Jazz Picante label and “Come With Me” is perhaps best remembered from that period. It has only once previously in 1983 been existed as a 7” promo only single, original copies exchanging hands now for over £125. Both songs are produced by Carl E. Jefferson who ran Concord Records since 1972. Tania has recorded since 1969, she’s Grammy nominated and has performed all over the world at major jazz festivals. “Come With Me” has been covered and sampled over the years and remains a timeless soul jazz classic.

Double Vinyl set (single slip /color jacket) When a spark ignites between two musicians, the state of flow can be achieved. Usually, a fleeting sensation, but when captured, it is an unstoppable force. The coming together of Jeff Mills and Jean-Phi Dary came from a collaborative project with the late great Tony Allen and created chemistry instantly. Recorded in real-time; these compositions reflect captured spontaneous actions which concede honesty and truth.

XOA returns with a new Jazz focussed sound to launch London based label Outervisions. Sax driven melodies cascade over rich analogue synths, punchy bass lines and crisp house influenced drums from some of London’s finest players.

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Verve und seine Schwesterlabels Impulse, Mercury und Emarcy bieten Vinylfans mit der ACOUSTIC SOUNDS-Serie eine audiophile LP-Serie für gehobene Ansprüche. Hierfür arbeitet Verve mit dem bekannten amerikanischen Vinyl-Label Acoustic Sounds zusammen:

- Fertigung mit 100% ANALOGEN PRODUKTIONSSCHRITTEN
- Mastering vom ERSTE-GENERATION-MASTERBAND
- 180G-PRESSUNG bei Quality Record Pressings
- laminierte TIP-ON-GATEFOLD-SLEEVES & WATTIERTE INNENHÜLLEN

New album by pioneering German beatmaker FloFilz. On Close Distance, the lofiturned-hifi producer blends hip-hop inspired beats with contemporary jazz, alt r&b and a little rap. Featuring Alfa Mist, Blue Lab Beats, Jerome Thomas,

KeepVibesNear, Summers Sons & C.Tappin, Dal & Hunter Rose. Close Distance is his fourth album for Melting Pot Music. Since 2013, the self-taught bedroom producer and classically trained violinist has sold more than 10k LPs and gained 200 million streams.

Close Distance literally means “near in space or time” (or “nah dran”, as we say in German). The 16 songs on Close Distance came to life over the past two years. Many sketches were birthed at FloFilz's old home studio in Aachen. Some songs were made from scratch in London, where Flo did sessions with UK jazz supremos Alfa Mist and Blue Lab Beats at their studios. One was recorded in a kitchen in Streatham, where rap duo Summers Sons and pianist C.Tappin reside.
More sessions were already in planning when lockdown kicked in and travelling was no longer an option. Around the same time, Flo was about to move from Aachen to Berlin which he eventually did in November 2020. Once installed, he started sharing beats and files out of his makeshift studio in Moabit. Beat folders were sent to
London where two of our favourite new alt R&B vocalists – Jerome Thomas and KeepVibesNear – live. Another one went to Dartmoor where the jazz/hip-hop trio Dal added their magic touch while Hunter Rose processed her sultry vocals in Cape Town - 12 flying hours away from Berlin.

The album artwork has been created by Indonesian illustrator Fatchurofi, who caught FloFilz's attention through his work for everybody’s favourite band Khruangbin. Taking influences from Japanese Ukiyo-e art, Fatchurofi is adding a zen-like clarity (and tranquility) that resonates very well with the album.

It is no exaggeration to say that FloFilz has not only created another inspiring album with Close Distance but one that demonstrates how music can close the distance which we all have experienced (and still do) in a beautiful way.

Actress and singer Julie London is best remembered in pop terms for her much-covered classic ‘Cry Me A River’, a Number 9 US hit in 1955 and a Number 22 UK success two years later. But as this compilation shows, there was much more to the girl than one impressive song

Strut present the first ever international reissue of one of the most sought-after albums from the Black Fire catalogue, Lon Moshe & Southern Freedom Arkestra's life-affirming 'Love Is Where The Spirit Lies' from 1977. This first international reissue of the album features new sleeve notes including interviews and commentary by Lon Moshe, Plunky Branch and band members with original illustrated artwork by Mary E. Greer. Audio was remastered from original tapes by The Carvery. "Lon was creating his own path in his music life at this time," remembers Black Fire's Plunky Branch. "We had met in San Francisco and he had become an original member of JuJu during the early '70s. He then wanted to pursue his own music, primarily in jazz; he was an avant-gardist and loved Tribe, Strata-East and Sun Ra." For his Love Is Where The Spirit Lies album, Moshe drew from musicians within the Black Fire stable. Oneness Of Juju's Jackie Eka-Ete sang and helped to write songs and members of Southern Energy Ensemble contributed, including their bandleader Marvin Daniels. "The band name, Southern Freedom Arkestra, was a proud declaration that this music was from the U.S. South," continues Branch.

Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa. For thirty-four years — 1964 -1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focussed by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — 'a spiritual offering to my ancestors' — and plenty of Sun Ra, with whom The Natives several times shared double-bills. (Xaba was to become close with Phil Cohran and the AACM.) Freedom is a gutbucket-soul rendition of the people's anthem; Nomusa is dedicated to Xaba's new wife, a poet and CORE activist from Chicago. The thunderous finale Makhosi features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed. Hats off to Matsuli for this outstanding reissue.

Sdban Records is delighted to announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972.

Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol's Jazz Club where he played the music of Johann Sebastian Bach four nights per week.

His album 'Stop, Look, Listen', which was recorded with the rhythm section of Babs Robert's group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It's highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël's passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: "He was a hippie before there were hippies. He wasn't part of the system but he had a system of his own."

A rare example of a 'jazz opera' The Real Ambassadors was an innovative concept when first released in 1962. Heading
an all-star cast, Louis Armstrong was at the peak of his popularity and still playing magnificent trumpet, while Dave
Brubeck was hailed as one of the most creative and successful musicians of the age. Enjoy this incredible LP, including
"Cultural Exchange", "Summer Song" and "Since Love Had Its Way"

Fragments repräsentiert eine Einladung an elektronische Künstler, traditionelle und moderne Musik zu kombinieren. Regelmäßig wird Fragments von einem neuen Komponisten inspiriert werden. Hieraus entsteht eine Serie von Alben, welche eine Bandbreite elektronischer Künstler dazu einlädt, einen ganz neuen Blickwinkel auf die Werke eines renommierten Komponisten zu werfen.

Fragments ist ein Projekt, das zwischen Welten schwingt. Zwischen klassischer und elektronischer Musik - zwischen alt und neu.
Beginnen wird die Serie mit Erik Satie: dem französischen Pionier der ‚Minimal Music‘, ein spitzfindiger Künstler, beliebt im Pariser Nachtleben seiner Zeit, ein Ambient Komponist avant la lettre, wiederentdeckt von einer Generation 100 Jahre nach seiner Lebzeit.
Beim Suchen und Finden der kollaborierenden Künstler, wurde das Projekt Fragments mit einstimmigem

Enthusiasmus empfangen. Das Resultat ist eine Kollektion großartiger Remixe & Reworks, welche monatlich zwischen August 2021 und Mai 2022 erscheinen.

FIRST-EVER VINYL RELEASE OF LANDMARK ZIAD RAHBANI ALBUM RECORDED IN 1985 AND ONLY RELEASED ON CASSETTE AND CD IN 1991. MIXING FUNK, JAZZ, BOOGIE, IT IS RELEASED FOR THE FIRST TIME ON VINYL WITH REMASTERED AUDIO AND NEW LINER NOTES BY LEBANESE DJ AND CURATOR ERNESTO CHAHOUD

Wewantsounds is delighted to announce the release of Ziad Rahbani's cult classic "Houdou Nisbi," one of his most praised albums, released on the sought-after Lebanese label Relax-in. This release is an event as the album, recorded in 1984-85 at Rahbani's By-Pass studio, was only released in 1991 on cassette and CD and missed out on the vinyl format. Mixing arabic music with Funk, Jazz, Boogie and a touch of Brazilian music, it is considered a classic among Oriental groove fans, DJs and collectors around the world. Curated by Lebanese DJ and Journalist Ernesto Chahoud, the album is making its vinyl debut with original cassette artwork, audio remastered by Colorsound Studio in Paris and also a 2 page insert with a new introduction by Chahoud in English/French.
Ziad Rahbani is one of the giants of Arabic music and a cultural icon in the Middle East. The musician, pianist and producer is also a celebrated playwright and a political activist. Coming out of an illustrious artistic dynasty (his father, famous composer and musician Assi Rahbani, was in The Rahbani Brothers and his mother is the legendary Lebanese Diva, Fairuz), Ziad Rahbani released a string of key albums in the 70s that have since become cult among DJs and collectors.

Heavily influenced by Western music, Rahbani brought these influences to traditional Arabic music early one. 1978 saw the release of two key Rahbani albums, the Disco 12-inch ‘Abu Ali,’ one of the most sought-after Arabic albums on the international DJ scene and ‘Bennesbeh Labokra... Chou?’ also featured in many diggers' want-list.

Serving as musical director to his mother Fairuz, he produced some of her best albums including 'Maarifti Feek' recorded in 1984 at his Beirut studio, By Pass, bringing his blend of modern influences to her traditional sound. At the very same time, Rahbani started recording his own album at By Pass with the cream of Lebanese musicians including saxophonist Tewfic Farroukh, Guitarist Paul Dawani and percussionist Emile Boustani.

Bringing Funk, Boogie, Jazz Funk fusion and Brazilian music to the mix, Rahbani created a landmark album, 'Houdou Nisbi' now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as 'Rouh Khabbir', a remake of the Crusaders' 'Soul Shadow' sung by Rahbani himself, the Modern Soul of 'Bisaraha' and the Brazilian flavoured 'For Sure', the album is both effortlessly groovy and steeped in Oriental music. Held as "one of Lebanon's best kept Musical treasures' by Ernesto Chahoud in his notes, the album is a certified Rahbani cult classic.

"Houdou Nisbi," which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war that went on between 1975 and 1990 - has been remastered for vinyl from the original masters by David Hachour at Coloursound Studio in Paris. The cassette artwork has faithfully been reproduced for vinyl release with an iconic woman supposedly going to party with her high-heel shoes during cease-fire in a war-battered beirut (an agit-prop cover in line with the political stances of Rahbani, a self proclaimed non-religious leftist). Wewantsounds is delighted to bring the first-ever vinyl release of this iconic album to the world, an event for all Middle Eastern music vinyl collectors and 80s funk & boogie lovers.

'AGAMA' is the music project and alter ego of singer, composer, producer and multi instrumentalist Cassandra Gurling. Born and raised in Birmingham and now based in London, Cassandra is a classically trained vocalist and choir director.

Her sound is classic yet contemporary, a dense mix of styles in which her operatic and earthy voice is simultaneously rooted and floating above - soulful, jazzy, slightly psychedelic with touches of electronics and a dramatic twist. Think a mix of Rotary Connection and Four Hero with a touch of musical theatre and you'll be approaching the range and depth of these 4 amazingly fully-formed, exploratory songs.

This rare fusion of musical and cultural influences within a socio-political context mirrors Cassandra’s mixed Anglo-Jamaican upbringing, where she learned to sing within the Church and Musical Theatre schools in multi-cultural Birmingham.

Following 16 albums and over twenty years of forward-thinking collaborations and experiments with some of electronic musics leading pioneers, Coppé (the "Godmother of Japanese Electronica") goes back to her roots for her 17th release entitled, 'Milk', paying homage to some of Jazz musics classics, greats and personal favourites.

As with anything Coppé applies herself to though, there is nothing standard about 'Milk'. Through brand new collaborations with the likes of Nikakoi, Atom™, Kettel, Modified Toy Orchestra's Brian Duffy, Christ. (ex Boards Of Canada), Terry D, Chris Mosdell and others, classics like 'I Fall In Love Too Easily', 'Candy' and 'My Funny Valentine' are taken into entirely new and unexpected realms.

However, through Coppé's clear, warm and sincere vocals, these interpretations never lose sight of honouring the originals, and form one of Coppé's most coherent and universal collections to date.

Coppé's own Mango + Sweetrice Records team up with UK label Bit-Phalanx Music to host 22rpm : An All-Day Electronic Music Festival on Saturday 7th October 2017, taking place at St. John on Bethnal Green church, Shoreditch, London.

Their third annual festival following two previous sold out events in Soho, this year's line-up includes exclusive live, AV and DJ sets from Valgeir Sigurðsson, Bola, Ash Koosha, Scanner, Ulrich Schnauss, Plaid, Gescom, B12, Digitonal, Derek Piotr and more, plus a unique second crypt space hosting a multi-channel 'Silent Disco', with hosting channel one.

Coppé will be performing in the main church hall with an all-new Jazz/Electronic quintet band, debuting Milk and other originals & classics.

Kansas Smitty's House Band are famous as London's hippest bar-owning band. In 2018, they sold out shows at Ronnie Scott's and Cheltenham Jazz Festival, debuted at North Sea Jazz Festival, toured Europe and won the British Jazz Award for 'Best Small Group'.

2018 is a landmark year with members of the House Band appearing at the Royal Albert Hall, Barbican, Friday Night is Music Night, Boileroom and The Rose Hall at Jazz at Lincoln Centre at the request of Wynton Marsalis. They've been nominated for Best UK Jazz Act by Jazz FM and have been playlisted extensively across Spotify. Now they're taking a look back over the high points of the last twelve months.

Originally released in 1967 by Ember Records
LIMITED TO 400 COPIES

* Legendary underground release from former member of The Sperm, Buddhas Of Golden Light, recorded in 1984 by the Nurse With Would listed Pekka Airaksinen.

* Buddhas Of Golden Light is a highly sought after crate digger's classic, originally self-released by Airaksinen in 1984. Airaksinen, a member of legendary Finnish improv group The Sperm, originally recorded the album to tape, using an 808 and DX7, with improvised saxophone, taken from an epic week-long solo session, with Antero Helander featured on one track. Buddhas Of Golden Light is a true underground record that sounds like very little else ever made before or since. Simultaneously alarming and disarming, Airaksinen has co-opted the sound of the 808 and manipulated his DX7 for a cosmic spiritual jam, Sun Ra style.

* Pekka Airaksinen has been actively making music for since the 1960s. Buddhas of Golden Light is from a series of albums he began making in the 1980s, each of which is dedicated to one of the thousand Buddhas, many of which are self-released. Currently, he is about a hundred Buddhas down. He is included in the infamous Nurse With Wound list.

* Airaksinen is mainly known for the controversial Finnish underground group The Sperm, formed in 1967. The collective's recordings resembled the noise and industrial music of the 70s and 80s, with a pro-drug, pro-sexual revolution rhetoric and a dadaist sense of humour, influenced by American free jazz, underground rock, and anarchism. After The Sperm disbanded in 1970, Airaksinen continued making experimental music in his own studio. His music is characterised by out-of-sync rhythms, intense dynamics, and feverish visions. His approach is consciously unpolished, spontaneous, and improvised, a cosmic electro-jazz sound developed in the 80s, fusing free jazz and the 808. In the 90s he began to incorporate techno influences, filtered through his Buddhist philosophy. He continues to make music into the present day.

Phall Fatale's line-up, for all its symmetry, is odd: two vocalists, two double bassists and a drummer. One of the singers is Joana Aderi, who also makes experimental electronica as Eiko, joining her is Joy Frempong, known for her work as one half of OY (Crammed Discs). One bassist is Daniel Sailer, previously known for performing both contemporary classical music and hardcore noise (O'Haldenramm, Krakatau, Pol, Frachter).

The other is John Edwards - quite a coup, given that he has worked with such avant-garde luminaries as Evan Parker, Peter Brötzmann and Wadada Leo Smith, as well as performing the songs of Robert Wyatt in Comicoperando. Completing the group is drummer and driving force Fredy Studer (Joe Henderson, Miroslav Vitous, Dave Holland, Jack DeJohnette, Paul Motian, John Abercrombie, John Zorn, Fred Frith).

Something about Studer's playing, which runs the gamut from full-blown rock-out to subtly textural, reflects that of the group as a whole, and he is both foundation and ornament to their unique sound.

Key to weaving together all these threads is producer Roli Mosimann, an early member of Swans who has also worked with JG Thirlwell, Young Gods, New Order, The The and Faith No More - and described by Studer as the sixth member of the band.

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