Pop & Rock Vinyl New Releases - News

* Winter Wonderland 26 Classic Christmas Songs across 4 Sides of Vinyl.

* Presented in Gatefold Sleeve with Original Artwork & Pressed on 2x 180g Heavyweight Black Vinyl

* Festive Favourites including: White Christmas (Bing Crosby) Winter Wonderland (Connie Francis) Rockin'
Around The Christmas Tree (Brenda Lee) Jingle Bell Rock (Bobby Helms) Jingle Bells (Frank Sinatra)

* Winter Wonderland is available Exclusively On Vinyl.

One more step into the eclectic world of Krzystof Komeda. This is the second Naked Lunch release dedicated to the music of the great late Polish pianist and film music composer. An outstanding compilation based on Komeda's early production featuring a variety of live and radio recordings between 1957 and 1962. Four different line ups including the Komeda trio, quartet and sextet, plus another quartet shared with tenor sax player Bernt Rosengren. A bunch of true pioneers for Jazz in Eastern Europe searching for the perfectsynthesis between the American stylistic influence and a distinctive Slaviclyricism.

Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.

Mammal Hands — Chaser/Prism 7" (GOND07001)

Captivating, ethereal and majestic, Mammal Hands are driven by their unique line-up of drums, piano and saxophone. Their hypnotic music draws on a rich well of influences from Sufi trance and West African music to folk music, contemporary classical, spiritual jazz and electronica to produce something uniquely their own. Their 7" features two brand new, previously unreleased tunes.

Side A Chaser is a punchy, hypnotic tune with an enchanted melody that'll take you on a magical journey. All in less than 4 minutes

Side B Prism is a mysterious ear-worm, ethereal but catchy, it sounds like nothing else the band have ever recorded.

The amazing, unpredictable, one and only Sly Stone has never made a secret of his beginnings as a teenaged hopeful in Vallejo, California in the early 1960s.

A trio of singles with his interracial high school vocal group The Viscaynes, followed by two more releases as a solo, recorded in Los Angeles with producer George Motola, comprise the fascinating apprenticeship Sly needed to undergo on the road to fame. For decades, Sly’s earliest works have been spread around on a parade of unauthorized collections, most with low-fidelity sound, artificially extended versions, and tracks by unrelated artists. Yellow Moon: The Complete Recordings 1961-1962 corrects this injustice by offering up Sly and the Viscaynes entire output from the correct master sources. This special 2 LP set complements the recent Ace Records CD of the same title and adds a brace of additional, exceedingly rare Sly-related material. Along with the original singles by The Viscaynes, and Sly’s first solo releases as Danny (Sly) Stewart and Sylvester Stewart, there are also several unissued demo tracks produced by teen idol and Viscaynes mentor Gary Stites, plus the sought-after Jasper Woods 45, featuring an incognito Richard Berry with the Viscaynes on vocal support. Exclusive to this vinyl edition are a rare High School recording by an early incarnation of the Viscaynes, both sides of the 1961 Royal Aces single on which Sly plays guitar, and as a special bonus, the Stewart Four gospel release from 1956, featuring a teenaged Sly on lead vocals – his very first appearance on disc.

The deluxe package comes with an authoritative and heavily illustrated booklet with much heretofore unpublished information and fresh interview material from the group and associates, as well as commentary from Sly himself. Yellow Moon: The Complete Recordings 1961-1962 is the last word on Sly Stone’s very first phase, and this vinyl edition is a must for any fan of his work.

‘Rejoice’ is the classic collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz. The record, released to great acclaim in March 2020, became the first posthumous release from Masekela, and the last release from Allen, who sadly passed away a month later.

For this Special Edition, World Circuit have gone back to the original 2010 mixes and added previously unheard parts from the 2019 sessions to create 8 reimagined bonus mixes. The CD and LP releases also feature a booklet with sleeve notes and photos.

Having first met in the 70s thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018. With renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Hugh Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

‘Rejoice’ can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with its roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland / The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Back in the 80s I became a big funk, jazz, and soul vinyl collector; which opened the incredible world of the late, great Mr. Weldon Johnathan Irvine. Back in the 90s I was lucky enough to meet him; Mr. Irvine was such a calm and gentle person; he just oozed music. This laidback, kind quality resonates in his music. On this 45, we trip through the jazzy journey of Weldon’s innovative keyboard work through to the double bass, and horns on the A. On the B we’re in a smoky bar, with yer homies,, chillin n grooving, as the melodica and guitar head-nod us along. Sublime.

It is a great honour to be able to release some of his music from his Nodlow music label on to 7” for the first time.

This has to be the holy grail of Weldon’s work, with his unique interstellar musical language. Back in the early 70s, Weldon Irvine was well ahead of his time both with his relatively radical, ‘modern’ jazz scores, and his overtly humanist lyrics. The almost Alice in Wonderland world of the late great Mr Weldon Johnathan Irvine, is one to get totally submerged in. Mr Irvine was such a calm and gentle person who just oozed music, baring his soul onto vinyl. It is such a great honour to be able to release some of my absolute must-haves, from his Nodlow music label on to 7” for the first time.

First recorded in 1973 and released on Nodlow records, we have taken 3 wonderful tracks from the epic “Time Capsule” LP – “Déjà vu” this quirky, yet catchy, song has been edited down, from 9 minutes to 3mins 43secs and this is the first time on 7’ for this 45 release. Weldon on Keys and vocals; back up with Emerson Cain; Lenny White on Drums; Tony Wiles, percussion; and Alex Blake on bass. Speaking to the family, I found out that Weldon had wanted to release a 7” of this back in the day, but it never happened, so this is for you, Weldon.
On the flip is “I am”, A spiritual interlude of words, and a feel that bring Weldon into the room, poetic masterpiece of earthly ideas and musical chords.
“Bananas” is a 90s Jazz Club dancer, this again shows Weldon doing his thang. Super funky drums and bass; plus it has that signature Weldon turn around rift

Mercury Prize nominee Warren Hampshire (The Bees) and Prolific British Jazzer Greg Foat return with their 5th Album

An instrumental Suite based on a day in their home town of Ventnor on the Isle of Wight. Featuring local musicians and field recordings of bird song and pubs, this album captures the essence of life in this seaside town.

60 million streams after their 2nd opus Running To The Moon, the duo's 3rd album, War Is Over, is a dive into 70's funk and soul with the same will to get the essential: the beauty of the melodies and the implacable groove. The Hip-Hop instrumentals on which singers and MCs seem to have more fun than ever, serve as a link to the whole.

Recorded mainly in Bordeaux, this new opus marks a turning point in the group's production method. The brass section present on the Running To The Moon tour was involved in the composition and thus brings a more organic touch to the sound of the album.

As usual, the duo has surrounded themselves with a horde of cult singers and MCs: R.A The Rugged Man, Pav4n & Illaman, Yoshi Di Original, Blake Worrell, MysDiggi or the young hopeful Yudimah (Fair 2020 winner) and the Englishman C.W Jones.

War is Over sounds like a declaration of love to black American music, from Early Jazz to Hip Hop, via Soul and Funk.

Life is Worth Living, officially a second LP from El Niño Andrés, comes 9 years after its debut LP "Más Dinero Más Problemas", but sound wise it's still walking on the borderline between house, jazz and soul. El Niño's usual combination of Rhodes and Moog improvisations on top of house and jazz-funk drum-lines is present on all album tracks, with live sax additions on "Come Closer" and "Mercy Mercy". Album is an uptempo affair, but as usual with Jackie Brown releases, not your straightforward 4x4 routine - poly-rhythms and percussion drive "Wasting Your Life" and "Soul", while "The Approach of Midnight" sounds like it could have been placed straight into a Tenet soundtrack LP.

‘The Soul Jazz label once again proves how smart they are with excellent Studio One Groups, an almost overwhelming set of killer cuts from bands and singing groups affiliated with Clement Coxsone Dodd’s ‘University of Reggae.’ There’s an amazing, deep history to be explored and even when you focus on just the groups, one disc isn’t enough to tell the whole story, but this collection functions as both a killer mixtape and exciting introduction for novices.’ ALL MUSIC

Soul Jazz Records’ classic ‘Studio One Groups’ collection is now available in three new one-off limited-edition coloured pressing anniversary format editions! A heavyweight gatefold special edition red 2xLP vinyl + download. Secondly, there is also a new special one-off edition red-pressed CD enclosed in jewel case and slipcase. And thirdly there is a very limited unique new one-time-only high-quality studio style tape (the same quality used for reel-to-reel studio tapes) cassette format release manufactured on red caseing cassette!
15 years on from its original release Studio One Groups remains one of the toughest of all Soul Jazz/Studio One releases and features some of the biggest groups in the history of Reggae music including Bob Marley and The Wailers, Toots and the Maytals and The Heptones who all began their careers at 13 Brentford Road, under the guidance of the great producer and label owner Clement ‘Sir Coxsone’ Dodd.
Featuring many, many classic and killer tunes from The Wailing Souls, Carlton and His Shoes, The Gladiators, The Ethiopians, The Mad Lads and more. Studio One Groups brings together numerous classic artists alongside a number of rarities and delves into Studio One’s musical output in its prime in the 1960s and 70s featuring Ska, Roots, Rocksteady, Dub and more. Clement Dodd’s role in launching and nurturing Reggae groups and singers is unsurpassed and Studio One’s success was due to Dodd’s ability to see talent, surround himself with it and nurture artists.
Launching Bob Marley and The Wailers career at Studio One also meant housing Marley in a flat in the studio compound, as well as employing Marley in an A&R role, checking out the latest American soul and jazz 45s that came out for Studio One artists to cover. In similar fashion Leroy Sibbles, lead vocalist with the Heptones, became the key in-house bass player after being taught from scratch by Jackie Mittoo.
Studio One Groups were at the heart of the label’s success. The sweet three-part harmonies, so close to the heart of Jamaican music, can be heard throughout every stylistic change of Reggae music – Ska, Rocksteady, Roots and beyond - all of which are featured here in all their vocalised glory.
The album comes with excellent informative sleevenotes by the author and Studio One discographer Rob Chapman, and exclusive photography including the stunning colour picture of Bob Marley and the Wailers on the front of the release.




‘Featuring Bob Marley and the Wailers, Toots and the Maytals, the Heptones - just three of reggae’s greatest groups who all started at Clement Dodd’s Studio One records’
ROUGH TRADE

Singer-songwriter-keyboardist Jarrod Lawson emerged seemingly out of nowhere, at the age of 37, with a self-produced debut album that took the world of soul and jazz by storm.

Within a whirlwind couple of years the former stonemason and piano tuner from Portland, Oregon played sold-out shows at London’s Ronnie Scott’s Club and Jazz Cafe, headlined the London Shepherds Bush Empire, performed at the London Jazz Festival, Love Supreme and North Sea Jazz festivals and powered his way into the Dutch Top 40 album chart. He has since performed at Billboard Live in Tokyo, in
Melbourne, at Indonesia’s Java Jazz festival and at leading jazz venues across the United States,

Describing him as the “blue eyed soul boy of jazz”, the London Evening Standard wrote: “It’s not just
Lawson’s wide ranging tenor and ability to swing, scat and groove that has made him the biggest soul-jazz sensation in years. It’s the way he’s bringing spirituality back to a genre that had lost its depth”.

Lawson is now back, with his long-awaited second album “Be The Change” – on 2LP vinyl in a gatefold package with full lyrics - accompanied by a talented band that benefits from the rhythmic presence of Grammy-nominated percussionist Sammy Figueroa, whose playing in a lengthy career has graced dozens of albums from artists as diverse as Miles Davis, Sonny Rollins and Quincy Jones to Hall & Oates, Chic and Carole King.

Lawson’s trademark layered harmonies and vocal phrasing, his jazz fusion arrangements and his stunning keyboard skills are in evidence throughout the album, notably on title track “Be The Change”, “Universal Chord” and “How Long”. On the beautiful, intimate “I’ll Be Your Radio” he is joined by Moonchild’s Amber Navran on vocals and flute and her fellow members of the Los Angeles alternative R&B trio who contribute clarinet and flugelhorn, and on the smouldering torch song “Love Isn’t Always Enough” Max Ribner’s
trumpet and flugel provide the perfect mood-setting accompaniment.


Lawson grew up surrounded by music. His father ran a recording studio in the family’s Redwood City,
California home. After moving to Portland he studied music and was a member of his college chamber choir and jazz ensemble. His near obsession with the piano blossomed when he was only 13 as he
studied the masters from Chopin to Oscar Peterson, Ravel to Errol Garner, as well as Paul Simon, Joni Mitchell and, of course, the artists who have influenced him the most - Donny Hathaway and Stevie
Wonder. Whether he sings and plays jazz, funk or rock ultimately “everything he touches turns to soul”, as one critic wrote.

Following the release of his debut album he received an Artist of the Year award from the UK’s Jazz FM and was runner up for Album of the Year at tastemaker DJ Gilles Peterson’s Worldwide Awards

Private Press Spiritual Jazz from D.C's Jeff Majors. Featuring harp, drum machines and synths. Jeff was one of Alice Coltrane's students at the ashram. He also played in Brother Ah's band. Each song on this album is an inspired vision of the personal and the devotional via the harps universal gilstening range and Linn drums. Comes with info booklet. TIP!

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

1981 South African Soul-Funk-Jazz from the master tape vault of the As-Shams/The Sun label by the creator of the Black Disco albums. As underground jazz fermented in the social and political powder keg of early-80s South Africa, composer and bandleader Pops Mohamed retired the Black Disco moniker in favour of Movement in the City. Their second offering yielded one of the most treasured releases in the As-Shams catalogue by way of Black Teardrops (SRK 786150), a singular blend of down-tempo and atmospheric South African rare groove featuring Dollar Brand saxophonist Basil "Manenberg" Coetzee and bass wizard Sipho Gumede on stand-out cuts like "Lament" and "Camel Walk." This carefully restored Sharp-Flat reissue in an edition of 500 puts the album back in print for the first time in 40 years.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

LP on blue marbled vinyl in printed innersleeve.This talented jazz trio stands out, not only for excellence in musicianship but also for its unique blend of effected vibraphone leading the beast from jazz funk to hiphop punk.

RKDIA are releasing their debut album: ‘Into RKDIA’. The album was written in Zanzibar, where the duo escaped the Nordic winter for some warm inspiration.

The duo consisting of Danish Morten Schantz (synth + vocals) and Swedish-Norwegian Anton Eger (drums) are well-known names on the jazz and fusion scenes of Europe. For a while now, both have been pushing the envelope, applying jazz logic in all sorts of unconventional shapes and places, seeking out the new and unheard.

“Interpreting the before and beyond of the South African sonic

• Tolika Mtoliki – literally, interpret Interpreter – is TBMO giving new voice to the wisdom of South African musical elders.

• The first single from the album - “You Think You Know Me” - reworks the original with words and an urgency that calls South Africa’s democracy and progress since 1994 into question

• “Just brilliant” – Gilles Peterson

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

TBMO first revisited the works of elders Batsumi and Malombo whilst on tour in Europe during 2018 and 2019. In collaboration with Matsuli Music an idea was seeded to record these works specifically for a vinyl release.

With these recordings, TBMO work to re-stitch a torn cloth. These songs are critical shards of a fractured sonic, social and political inheritance. They are the sound-work of the elders – Mongezi Feza, Johnny Dyani, the Malopoets, Batsumi, and Philip Tabane, and they come with a blessing from Moses Taiwa Molelekwa. Called into the circle for this session, they speak old wisdom in new voices, and what they have to give is not measured in distance from a so- called original version.

TBMO is a South African performance art and music ensemble from Johannesburg formed in 2009 by brothers Nkululelo and Siyabonga Mthembu whilst watching an episode of the US TV-drama The Wire. The name is a misconfiguration of a fictional character, The Brother Mouzone, from The Wire. Since 2009 they have released two albums, A New Myth (2013) and The Golden Wake (2015).”

LP with printed insert. Trance Plantations is the new brainchild of Nathan Daems (Black Flower, Echoes of Zoo) and Falk Schrauwen (Echoes of Zoo).They draw on tribal and spiritual music from all over the world and launch them into the cosmos through their electro-acoustic mix.

This project has been a long time in the planning, but good things come to those who wait. We are delighted to present the second volume in our "Brazil 45 Boxset Curated by" series. For this one we have gone straight to the source, Brazil’s DJ Marky (Marco Antônio Silva) selects inspirations and favourites from the golden era of Brazilian music.

Reminiscing to the early 2000s, we can remember the freshness that DJ Marky and other Brazilian producers bought to drum’n’bass by taking two different forms of music from two different cultures and interweaving them effortlessly with a beautiful synchronicity and unity. This merging of the genres even produced one of the biggest commercial tracks of 2002, firstly on an underground level and then as a crossover chart hit, with DJ Marky & XRS's 'LK 'Carolina Carol Bela' which samples Jorge Ben and Toquinho. The importance and legacy of DJ Marky and his Brazilian contemporaries from this era are far greater than their productions and records alone, for many, they were also the gateway into the deep and rich world of Brazilian music.

For his boxset, DJ Marky has gone back to his roots and selected tracks by Brazilian music royalty from the 60s, 70s, and 80s. Artists such as Marcos Valle, Elis Regina, Jorge Ben, and Joyce all feature. It is Joyce's anthemic 'Aldeia De Ogum’ that has proven to be responsible for many record collectors and DJs outside of Brazil starting a lifelong obsession with Brazilian music exploration. We also find another anthem in the form of Jorge Ben's 'Take It Easy My Brother Charles’, which was sampled by Drumagick for their 2002 track 'Easy Boom'. His selection from Marcos Valle is the tripped-out, rarer 1970 version of 'Os Grilos’ which, with its irresistible quirky swagger, is impossible to keep your feet from moving. The accordion-led 'Baião Violado' by Dominguinhos, with its soaring strings and funked-out drum beat, is a real star of the show in the collection.

This boxset feels like your long-lost favourite mixtape, packed with evocative memories and skilfully gelled together with inspirational tracks that will appeal to those with a knowledge of Brazilian music and to the first-time buyer just wanting to discover something new. Exactly what we hoped for from such a respected DJ, producer, and bonafide musical pioneer.

Believed to have been recorded in 1983, ‘O Filho Do Homem’ is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it’s her only known studio recording of the decade, ‘O Filho Do Homem’ is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the 80s.*

These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterised her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self titled Ana Mazzotti (1977). This evolved 80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as “a super musician.”

Following the resurgence in appreciation for Ana’s music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he’d inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana’s recordings, the line-up for the quartet is unknown.

“O Filho Do Homem” will be released on 7” vinyl and digitally on the 10th December 2021 via Far Out Recordings.

“Music with a modern but discreet sound”. This is how Piero Umiliani himself described the content of Pianofender Blues, entirely recorded with the aid of two electric pianos (Fender, of course, and Wurlitzer), bass, piano, drums and percussion; yet another curious foray of the Florentine artist, here exploring territories different than his usual jazz, soundtracks and avant-garde experimentations.
Pianofender Blues is quite honest right from its title, and the melancholy of the sound produced by the world-famous American keyboard goes well with a much lighter repertoire that we could call, by using a vaguely old-fashioned locution, ‘easy listening’; an album that can be easily placed within Umiliani’s ‘less challenging’ production, together with other titles such as atmospheres, Fischiando in Beat or Motivi Allegri e Distensivi, that testify their author’s versatility.
Originally released in 1975 under the name Rovi, Pianofender Blues combines excellent instrumental technique with a sound inevitably born of those years, and enriches Umiliani’s long series of sonorizations - the so-called ‘music libraries’ - that have made him famous as much as his efforts within the jazz and soundtrack fields.

Wagram compilation of 50s and 60’s Miles’ classic tracks.

Music Legends is the collection made to rediscover the history of modern musics in nice gatefold sleeve single vinyls with liners notes written by journalits. Music Legends, is proud to present a new volume. This new title focusses on one of the greatest jazz maestro of all time : Miles Davies. Often seen as the most influential artist in the Jazz Music field, his legacy will continue to influence the new musicians for years. The LP features 8 of his most famous tracks (So What, Milestones, Round Midnight…)

Jazz meets Dance... GoGo Penguin Remixed - ein logischer Schritt!
Das in Manchester ansässige Jazz-Trio hat schon immer akustischen Jazz mit der Energie und Seele
elektronischer Musik verbunden und in Clubs wie auf Festivalbühnen Rave-artige Zustände erzeugt. Jetzt
gehen sie diesen Weg auf einem speziellen Albumprojekt weiter und lassen ihre Musik neu erfinden.
Auf ”GGP/RMX” widmen sich angesagte Producer und Remixer wie Squarepusher, Machinedrum, James
Holden oder Clark den besten Tracks des Trios und katapultieren sie in neue Klanglandschaften.

So many of us head back out into the world post-lockdown, with a different perspective on the overpowering nature of it. Nothing Feels Like Everything, looks deeply at how the absence of something can be just as overwhelming, whether the absence of physical contact, the absence of love, the absence of empathy and respect.

This album places gentleness beside power and cacophony to recreate the vast swings of emotion experienced in isolation. When nothing can be too much, while at the same time, all we want.

The sixth studio album from Scrimshire is an atmospheric and emotional experience. Moments of swirling orchestral energy perfectly countered by quiet, meditative calm. Moving string arrangements sit alongside delicate synthesiser-soaked rhythms. After huge collaborations with Emma-Jean Thackray, Omar, Georgia Anne Muldrow, Ego Ella May and many more on previous records, with only four vocal contributions this time, it is his most instrumental exploration to date.

But those few vocal contributions are captivating. From the opening explosion of UK jazz and soul legend Cleveland Watkiss, with a powerfully clear call on behalf of the marginalised and oppressed in society to the deeply intimate and supportive incantations of Ursula Rucker. No word is wasted here.

The record carries on a tradition of collaboration, with contributions from Jessica Lauren, Idris Rahman (Soothsayers, Wildflower, Ill Considered), Nat Birchall, Huw Marc Bennett, Miryam Solomon, Emanative and recent Albert's Favourites signing Pie Eye Collective. In fact, the phone calls that led to these songs are in many ways the power of it. Reaching out across long distances, through conversations to find meaning in difficult times, and then capture those feelings in music. The process being a therapeutic experience that is now present in the sounds.

"Throughout lockdown I've been writing so much, and when I released Believers Vol. 1 back in November, I'd wanted to bring people something that captured the warmth and hopefulness I think we needed despite deep political and cultural turmoil. But there were obviously very low moments, socially and personally and I was still capturing those too. This album holds more of those moments of loss and being lost, of solitary contemplation and meditation, of yearning, of anxiety.

More than I've experienced before, the collaborations came through long and beautiful phone conversations, developing friendships with new people, rekindling and supporting older relationships, taking time and giving each other time, care and space to create. It's what makes this album special to me."

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Percussionist Emmanuel Abdul-Rahim recorded this
mix of Latin and spiritual jazz in his adopted home of
Denmark in 1988. Sought after for the African
influenced ‘Kalahari Suite’, ‘Harlem’ is actually eight
tracks of brilliance that sees the veteran performer
lead a local band through their paces. A perfect
example of America meets Europe.
As Juan Amalbert he had led the in-demand Latin Jazz
Quintet who recorded for Prestige and United Artists in
the early 60s, including Caribé, which featured Eric
Dolphy. In 1966 he was asked to appear with John
Coltrane’s group at the performances that produced
the album ‘Live At The Village Vanguard Again’. Soon
after Amalbert recorded another album, which this time
featured Pharoah Sanders in the horn line-up. All that
appeared at the time was a single on Golden Earth
Records, but the album was later released as ‘Oh!
Pharoah Speaks’ in the wake of Sanders’ solo
success.
He then made the soulful 45 ‘When You Lose You
Groove’ / ‘The Knower’ and the spiritual jazz classic
‘Total Submission’ for Cobblestone, which featured the
updated version of ‘The Knower’, called ‘Al-Alim’,
which Acid Jazz included on ‘Jazz On The Corner 2’.
After that, like so many American jazzmen, he packed
his bags and headed to Europe to carry on his career,
which is where, in 1988 he recorded ‘Harlem’.
Acid Jazz are happy to officially reissue this album on
vinyl for the first time since its initial release, with full
co-operation of Rahim’s estate.

Legendary Brazilian group Orquestra Afro-Brasileira are reborn for first new album in over fifty years, produced by Beastie Boys collaborator Mario Caldato Jr.

Led by maverick composer Abigail Moura, Orquestra Afro-Brasileira were one of the most influential yet overlooked groups in Brazilian music history. Operating for almost thirty years until 1970, they released just two albums - the first of which, Obaluayê, has recently been reissued by Day Dreamer Records - and left behind a legacy of Afro-Brazilian consciousness that continues to resonate today.

Combining Yoruba spirituality, folk tales, Candomblé chants and West African percussion with the instrumentation of the big band jazz tradition in the United States, the Orquestra placed Afro-Brazilian heritage in a new and vital context. Weaving emancipatory narratives into complex poly-rhythms and powerful, syncopated horn lines, the group educated and enlightened all those who saw them perform.

For Abigail’s protégé and percussionist on the group’s 1968 album Carlos Negreiros, the message of the group’s music had a profound impact: “I became aware of what it is to be black,” he says, “discovering the extraordinary potential of the Afro-Brazilian culture in the making of the national ethos.” Now the last remaining member of the original Orquestra, Carlos was tracked down by producer Mario Caldato Jr. - whose credits include Beastie Boys, Marcelo D2 and Seu Jorge among others - to oversee the first new album of Orquestra Afro-Brasileira material since 1968.

“I was overwhelmed with the percussive rhythms, beautiful deep vocals and combined energy,” Caldato Jr. explains. “It felt like the most authentic Brazilian roots music I had ever heard. It was raw and dynamic, a pure organic sound and energy. It was a spiritual experience.”

Alongside arranger Caio Cezar, Carlos assembled his Orquestra to record five tracks at Berna Ceppas’ Estudio Maravilha 8 studio in Rio De Janeiro. With percussion, horns and vocals cut in single takes over three days, the session captured the intuitive, pure and natural spirit of the group in full flow.

Following the success of the initial session, five additional tracks were recorded at the iconic Estudio CIA dos Tecnicos in Copacabana to complete the album. Mixed by Caldato Jr., 80 Anos is a contemporary incarnation of Abigail Moura’s vision, bristling with the flair of the original recordings.

In our latest chapter of Spiritual Jazz, we return to the source – the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane.
Since the first release in the series back in 2008, we have mapped out the growth of the spiritual sound in jazz. Spiritually energised and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. Our series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange and black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharaoh Sanders, Yusef Lateef, McCoy Tyner and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse the defining imprint of a crucial decade. They hand picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan – 'The New Wave Of Jazz Is On Impulse!'

Here we dive deep into the Impulse! catalogue, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant and as relevant as ever.

Ian Simmonds along with Art Yard records presents his 16th Lp ‘The Brunswick Variations’.With collaborations from Clemens Kynast Germany Max Moore, piano UK and Kenji Ikegami, Bamboo Flute Japan. Recorded and mixed remotely during lockdown in 2020-21, this Lp sees Ian mixing the sound pallet with Field recordings from Clemens Kynast along with the Jazz folk and bluesy electronic feel of classic Ian Simmonds, all tied together with the humour and dark satire of Ian's poems and songs.