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Super cool Jazz score by Michel Magne in the vein of Take Five, Super Rare too, original copies fetching £250 and upwards.

Anyone who was into the last Jazz Room single release of Take Vibes -"Golden Brown" is going to want to get their hands on a copy of this.

Regularly featured on Worldwide FM's Jazz Guru Gilles Peterson's playlist this is a must buy.

Limited pressing, don't miss out.

Highly anticipated sophomore release from saxophonist and composer Sisonke Xonti, winner of South Africa's 2020 Standard Bank Young Artist Award for Jazz. At the centre of the album, Xonti's four-part "Migration Suite" is his boldest work to date, exploring rural and urban identity and the perilous spiritual journey from homeland to the global village. Produced by Xonti and pianist Yonela Mnana and featuring photography by Mandisa Buthelezi, the album appears on As-Shams/The Sun as part of a roster of new artist releases on the cusp of the iconic South African jazz label's 50th anniversary.

solutely Stellar jazz from Sun Ra alongside John Gilmore, Luqman Ali & Michael Ray. This quartet version of the title song appeared on 1978's 'New Steps' LP. Over on the flip is the 'Alien vocal version' of Somewhere In Space, recorded in 1957.
Two expertly plucked out (fully licensed) Sun Ra essentials, presented on a heavyweight (70gram) Art Yard styled 7". Don't be sleeping..!

Formed in Norwich in 2012, Mammal Hands, have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. Saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett all contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos.

Their records are entrancing and beautiful affairs, drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders, Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

Recorded at the same sessions as last year's acclaimed long-player, Captured Spirits, Oni / Lantern is a perfectly formed, strictly limited 12" release that pairs the rhythmic punch of the incessant A-side banger, 'Oni' with a beautiful folk-tinged future-anthem in the wistful, engaging 'Lantern' and with just 500 copies pressed this one will fly!

Dynamite Cut’s little sister, SKYLINE recordings, the UK’s home of funky beats has only gone and done it again with the one and only Mike Bandoni.

Most notably known as the main man behind UK Funk heavyweights, Funkshone, this sees Mike Bandoni making a welcome return to his solo work for this new 45 on Skyline Recordings. ‘I Thought Of You’ is a delightful slice of Funky Soul/Jazz that sees Mike playing everything! A superb drum sound with layers of Rhodes, live Bass, Clav, Percussion and Organ, the cut is so soulful it hurts. A prefect balance of rhythm and melody and all that we’ve come to expect of Mr Bandoni. The flip features a sparser but funkier tune ‘Matrices’. Elements reminiscent of Money Mark, the Meters and Bob James combine to form a cracking three and half minutes of bliss. Again, a killer drum sound and instrumentation to match. One thing is clear. The new Mike Bandoni sound is here to stay and we here at Skyline Recordings dig it!

Rome based artist SofaTalk draws his inspiration from a melting pot of genres, including disco, funk, neosoul, boogie, broken beat and future jazz. He combines these classic influences with contemporary electronic sounds to form a truely unique style of production. He's also the founder of Cognitiva Records and a sought-after selector. For this release he creates four deep and laid back original tracks. London-based veteran Kaidi Tatham adds the icing on the cake with a signature broken beat remix. Exercices de Style opens the record on a smooth vibe with beautiful Rhodes pieces, and complex rhythms. On Telepathic Flute, as the title suggests, a flute lights up the mood, with the help of a saxophone and a guitar. The A side's third track, entitled The Hope Suite, moves towards a more mysterious atmosphere, built up by several tension moments with subtle releases. The B side consists of two versions of a track called Like a Magpie. SofaTalk's original version combines guitar, bass, trumpet, saxophone, flute, piano chords and drums for a full jazz house session. On the remix, Kaidi Tatham gives the original a funky twist by extending the guitar part, then adding his unique rolling drums and brilliant keyboard improvisations.

Reissue of the debut album on A&M Records by jazz guitarist Wes
Montgomery, released in 1967.
Featuring Herbie Hancock, Ron Carter, Ray Barretto and Grady Tate. Arranged by Don Sebesky. Limited edition 180gram vinyl in deluxe gatefold sleeve.
It reached #1 on the Billboard Jazz Album chart and #2 on the R&B chart. Considered by far the best of his three albums on A&M (in partnership with Creed Taylor’s CTI Records), A Day in the Life features a plethora of star sidemen, such as Herbie Hancock, Ron Carter, Ray Barretto and Grady Tate, among others, as well as superb arrangements by Don Sebesky. The LP was masterfully engineered by Rudy Van Gelder.

Where's Joao Donato? It's a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato's comfort with musical hybrids: "Bluchanga," "Sambolero," and "Sambongo," to name just a few. Lacking a formal genre for his style of music, Donato's is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when "funk" was a bad word (listen to either of his 1960s Brazilian LPs, Sambou, Sambou and The New Sound if Brasil, for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, revealing their intricate details upon repeat listening. Today, Donato brings this flavor, now near synonymous with his name, to a new album in the Jazz Is Dead series with Adrian Younge and Ali Shaheed Muhammad: Joao Donato JID007. "Donato is one of the greatest Brazilian composers from that golden era. His signature style, simple melodies combined with colorful chordal progressions, establishes a new lane for Jazz Is Dead," explains Younge. "Joao is one of the most innovative Brazilian jazz composers of the last century. Creating with and learning from this maestro was one of the greatest experiences of my career."

The second volume brings sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway and Herbie Hancock’s Head Hunters will have listeners throwing their pew cushions into the air.

Full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

The second instalment in CC:DISCO!'s 'First Light' compilation series offerslisteners an open invitation to discover prolific upcoming and unsung talentsnot only from Australia, but from across the globe in Russia, Japan, Zambia,Spain, Sweden, Indonesia, US, Canada and beyond. 12 exclusive tracks, andan eclectic journey which explore the scopes of jazz, Balearic, disco, house,trance and techno, affirming her status as a dedicated tastemaker. The compilation and selection process is a natural experience for CC:DISCO!having worked in radio since the age of 15, working at Kiss FM before herlong-standing show at PBS. Since relocating to Lisbon in 2019 she has beenholding down a residency at Rinse FM. Radio allows her to express herundying love for the underground scene by giving a voice and platform toshowcase its talent. Sonically, the journey of the full compilation opens with soothing melodic jazzytones, leading onto disco and electronica and finishing with the heavier high-octane productions. The compilation draws on artists and friends that she'sencountered through her journey as a radio presenter and touring DJ, playingfestivals such as Oasis, Lost Village, DGTL, PITCH, Strawberry Fields,Glastonbury, Love International, Kala to name a few. Now residing in Lisbon,CC:DISCO! features those who've inspired her in some way on her journey,and that hail from all parts of the world. Since its 2016 inception, Soothsayer has fast become a dynamic tastemakerlabel, adding fuel to the fire of burgeoning artists such as KUCKA, Willaris. K,Dro Carey, and ALTA, making it the perfect home for the First Light series andthe artists featured

Willie Bobo was a Latin jazz percussionist from New York who recorded over 20 albums between 1963 and 1979. During the 70s jazz funk period he recorded a version of Always There' to rival the Ronnie Laws original as the definitive version becoming a dance floor favourite. The album and extended 12' versions have been reissued many times, now here's a first issue of the more compact 7' version which has become more in demand recently. It is coupled with an extremely popular vocal track Comin' Over Me' featuring singer Errol Knowles. It is the first time this song has been released on 7'. Willie's son is Eric Bobo, a member of Cypress Hill.

Two Underground London Jazzfloor hits from Paul Murphy's Jazz Room Records.

On the A side Latin Supergroup's wild and infectious "Caliente" with Paquito's Banging piano riff and heavy Bass Line action from Descarga originator Cachao overlaid with Driving vibes from Tany Gil and a Percussion Meltdown from Walfredo De Los Reyes.

On the B side the Vienna Art Orchestra provide a dark and mysterious version of the Bud Powell classic "Un Poco Loco" keeping that Be-Bop Afro-Cuban vibe but adding that East of the Border darkness you'd expect from a sound recorded at the time the city was on the Cold War fault line.

Gilles Peterson (Worldwide / Brownswood):

"Paul Murphy found almost every jazz dancefloor classic. He is the original messenger of jazz. He opened the door to an alternative way of being a Dj. The rest is history.

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

Standard version on black vinyl. 2LP in gatefold sleeve with liner notes. Utopic Cities is an eclectic selection of forward-thinking jazz from the Belgian underground, including the left-field fusion of Marc Moulin's Placebo, Koen De Bruyne, Solis Lacus and more.

Multi-Instrumentalistin und Produzentin Emma-Jean Thackray startet mit der "Rain Dance" EP ihr Label Movementt. Als Musikerin, Komponistin, Sängerin, Bandleader und DJ moderiert die Red Bull Music Academy-Absolventin ihre eigene Show auf Worldwide FM und arbeitet parallel mit dem London Symphony Orchestra zusammen. Ihre Arbeitsweise ist vielfältig: sie dirigiert live ihre Band, sampled sich in neue Welten und produziert solo als in sich geschlossene One-Woman-Band. Nach den EPs "Walrus" (Deptford Beach, 2016) und "Ley Lines" (The Vinyl Factory, 2018) gehört Emma-Jean zu den heiß gehandelten neuen Musikern Großbritanniens, weit über Genre-Grenzen hinaus.

Marc Rapson is a man of many dimensions. From rocking BBC's Maida Vale and Later with Jools Holland as part of Ben Westbeech's touring band, to releasing stellar re-edits of Marvin Gaye and Sarah Vaughan to the acclaim of Gilles Peterson, Marc has spent the last decade quietly building a following amongst those in the know. Dark vs Light seamlessly blends crunchy, low swung Hip Hop beats with Marc's jazz inflected Fender Rhodes and synth sounds. Not one to be confined to a singular style, Marc also fires up the sampler for tracks such as 'Click Loud', combining surgical chop skills with live instrumentation. Dark vs Light is the product of a mind that grew up on Ahmad Jamal as much as A Tribe Called Quest: the jazz pianist with a passion for raw beats. This first time on double vinyl complete edition includes all tracks from the now out of print EP along side additional bonus cuts from the original sessions featuring MC Replife as well as a dope cover of a classic Roy Ayers track. A great way to help celebrate Futuristica’s 15th year!

Floating Points remixt „Fair Chance“ (feat. Ty Dolla $ign & Lil B) aus Thundercats aktuellem Album „It Is What It Is“, das Anfang April bei Brainfeeder erschien!

Im April, als sich die Welt in einer Spirale von COVID-19-Kontaktbeschränkungen befand, veröffentlichte Thundercat sein plötzlich so treffend betiteltes Album, „It Is What It Is“, mit musikalischen Beiträgen von u.a. Flying Lotus, Childish Gambino, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole, Zack Fox, Ty Dolla $ign und Lil B. Das letztgenannte Paar waren zu Gast auf der Single „Fair Chance“, ein Lied, das eine eher düstere Seite des Albums widerspiegelt und ausdrücklich dem Gedenken an Mac Miller gewidmet war, der 2018 auf tragische Weise verstarb. Jetzt ist der vielgeachtete britische Produzent Floating Points an der Reihe, seinen Ansatz an „Fair Chance“ zu teilen und die Ballade mit einer fabelhaften Überarbeitung auf die Tanzfläche zu bringen, die an klassischen four-to-the-floor UK Garage erinnert.

The Kraut Jazz Futurism compilation shows what's cookin’ in the new German Jazz scene. Young German bands and a few of the international musicians working in Berlin now. Fresh artists that combine Jazz, Krautrock, Afro, Hip Hop and Electronica in a new way.

The first volume of the compilation came out last year and was described by The Wire as “... a re-drawn map of underground Berlin. Refreshingly new, eccentric, badassed and sometimes funny.” This 2nd part goes further. Similar to Gilles Peterson’s “We Out Here”

compilation, where he shows mainly the new hip english Jazz artists, on Kraut Jazz Futurism, Kryptox records headhoncho Mathias „Kapote“ Modica puts together what’s hot in the new club jazz scene in Germany. And there is a lot cookin’ in Berlin right now.

Kraut Jazz Futurism comes out on Kryptox. Sublabel of Gomma & Toy Tonics records.

Limited edition 180g vinyl reissue of ‘Workin’ With The Miles Davis
Quintet’ on blue vinyl. Classic Miles Davis Quintet studio session from
1956 (released Jan. 1960) produced by Bob Weinstock for Prestige Records.
“This is the sort of thing that is going to be owned and played and dug and redug for all time. Few bands in the history of jazz have had the quality of this group. The whole LP is a gas. I don’t see how anyone can do without it.” - Ralph J. Gleason, DownBeat

The mysterious afro-soul of The Shaolin Afronauts first echoed across the dance floors of Australia in late 2008. Heavily inspired by the sounds of 1970's West Africa, Ethiopia and the pioneering avant-garde jazz artists of the same period, The Shaolin Afronauts draw on the this highly innovative and sometimes volatile era in music, using it as inspiration to create music with the same fire and intensity. Though there is something refreshing and original about the Afronauts, their music could be described as somewhere in between the heavy Afrobeat of Fela Kuti and the Ethio-Jazz of Mulatu Astatke. The key to the Shaolin Afronauts unique sound is the line-up, which comprises of a three piece horn section, 5 piece rhythm section and three percussionists, and this polyrhythmic approach layers the groups sound with a mesmerizing and hypnotic texture.

Kicking off with Journey Through Time (also released as the A side of the limited edition 12 inch vinyl single: FSR091) the multiple layers of percussion and rhythms indeed unleash an unstoppable groove, which is nicely balanced against the albums slower, more introspective moments, such as Rise With The Blind which along with haunting, mellow Scarab prove that contemporary afrobeat rooted music doesn't always have to be an unrelenting, uptempo assault on the senses and can provide moments of sheer beauty and reflection.

This added element of subtlety sets The Shaolin Afronauts music apart from much of the recent crop of other bands with similar influences, That said, these guys are still a collective capable of burning some stone cold classic and killer grooves, The Shaolin Afronauts are the band to watch out for in 2011!

"Year Of The Funky" is the second album from Bei Bei () & Shawn Lee. After their debut collaborative album "Into The Wind" (Ubiquity Records, 2010), the Chinese guzheng virtuoso / composer and the prolific multi-instrumentalist / producer join forces again on 12 new tracks. "Year Of The Funky" marries a unique blend of ancient tradition with studio trickery. Eschewing all notions of superficial "Asian/Fusion", this uplifting, genre-bending, and sophisticated sound brings together both East & West with musical aplomb. The new album continues as a logical progression from "Into The Wind". It ventures into both new tempos & moods while deftly connecting the past, the future and what lies beyond.


About Bei Bei

The Guzheng is over 2000 years old and belongs to the Asian long zither family. It was used in both folk and court music in the ancient China. Falling in love with the 5 foot tall x 1 foot wide 21-stringed Chinese instrument at first sight, Bei Bei began playing at the age of seven and received her professional musical training at the Central University of Nationalities in Beijing, China and the Hong Kong Academy for Performing Arts in Hong Kong. She also studied Jazz music and improvisation at Fullerton College in California. Bei Bei roots her art in classical music and expands into other styles, combining new with old into creative new expressions, especially in her collaborations with musicians from different genres such as funk, jazz, alternative, electronica, hip-hop, and dance. She is a multi-award winner of many national and international awards. In 2011, she and her music were included in the American college textbook "World Music" by Michael Bakan. In 2015, she was featured as one of The Most Fascinating People of Los Angeles by LA Weekly Magazine. As a studio musician, she recorded for Sci-fi Channel's "Battlestar Galactica" and award-winning video game original score "Revelation" (). As a composer, she composed music and performed for the China Central TV documentary series "Dun Huang", Chinese movie "Copycat", and for Canon web promo video "Tiger's Heart" . She released her debut album "Quiet Your Mind And Listen" in 2006 and her collaborative album "Heart of China" (Universal Music), with Richard Horowtiz, in 2008. Her last collaborative album "Into The Wind" with Shawn Lee was released through Ubiquity Records in 2010. As an educator and author, she has published two books "Gu Zheng Sessions Vol.1" and "Bei Bei's Easiest Guzheng Course Book 1" with accompaniment CD and videos. She is the director of Lotus Bud Guzheng Academy in Orange County California and business owner of The Guzheng Shop.


About Shawn Lee

Shawn Lee is one of the most prolific musicians of his generation. A multi-instrumentalist, producer, singer songwriter, composer and Radio DJ who has released 35 albums as an artist to date. He has played, produced and written on hundreds of records. He has worked with a diverse range of artists including Jeff Buckley, Kelis, Saint Etienne, Money Mark, Amy Winehouse, Jonathan Jeremiah, Darondo, Adrian Younge, Tony Joe White, Robbie Williams, Incognito and Princess Superstar to name just a few. Lee's music has been used extensively in both film & TV - "Monuments Men", "20 feet from stardom", "House of cards", "Orange is the new black", "Blacklist", "Vice Principals", "Oceans 13", "Eastbound & Down", "Ugly Betty", "Nip Tuck", "CSI," "Confessions of a shopaholic", Cinemaxx, Jaguar, BMW, Barclays, Clarks shoes, Head & shoulders and many many more. He has also created bespoke music for Hermann Miller, Ace Hotels and Wallpaper magazine. As a composer, he has scored two documentary films "Elevate" and "Under the sun". Lee also created the original soundtrack for the feature films "Save Angel Hope", "Live Evil," "12 Dare's" and composed the original scores for video games "Zombie Playground" and "Rockstar's Bully" which was nominated for best score twice - winning once. Shawn Lee is an American and has lived in London England for over 20 years with his wife and his two daughters.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

A Wild, Esoteric Mix Of Psychedelic Funk, Afro-latin Grooves, Jazz And Italian / French Styled Library Sounds Courtesy Of Cuasares, An Enigmatic Studio Project Created By Pianist / Arranger / Visionary Waldo Belloso.Acid Fuzz Guitar, Cosmic Synth Splashes, Distorted Organ, Flute, Vibraphone, Trippy Studio Effects...
Originally Released In Argentine In 1973 As A Micro-edition, Here's The First Ever Reissue.Includes Insert With Photos And Detailed Liner Notes By Eduardo A. Elizalde Pietruczyk (a.k.a. Bubbling Minds) And Mike Wallace.
Digital Download Card

Nearly two decades into her storied career, 9-time GRAMMY-winning singer, songwriter, pianist, and 2020’s most livestreamed artist Norah Jones will release her first full live album ‘Til We Meet Again on April 16. The collection presents globe-spanning performances from the U.S., France, Italy, Brazil, and Argentina that were recorded between 2017-2019. The first single “It Was You,” which is available to stream or download today, was recorded at the 2018 Ohana Festival in Dana Point, California with Pete Remm on organ, Christopher Thomas on bass, and Brian Blade on drums. Additional musicians featured on the album include bassist Jesse Murphy, guitarist Jesse Harris, flutist Jorge Continentino, and percussionist Marcelo Costa. ‘Til We Meet Again can be pre-ordered now on vinyl, CD, or digital download.

The 14 songs featured on ‘Til We Meet Again also span Jones’ entire career from her 2002 debut Come Away With Me (“Don’t Know Why,” “I’ve Got To See You Again,” “Cold, Cold Heart”), 2004’s Feels Like Home (“Sunrise,” “Those Sweet Words”), 2012’s Little Broken Hearts (“After The Fall”), 2016’s Day Breaks (“Flipside,” “Tragedy”), as well as her more recent singles series (“It Was You,” “Begin Again,” “Just A Little Bit,” “Falling,” and the GRAMMY-nominated “I’ll Be Gone”). The album closes with Jones’ stunning solo piano performance of Soundgarden’s “Black Hole Sun,” a tribute to Chris Cornell that was recorded at the Fox Theatre in Detroit just days after Cornell’s death following a performance at the same venue.

South London’s Oscar Jerome announced his highly-anticipated debut album ‘Breathe Deep’, due for release on July 10th 2020 via Caroline International.

A staple of the capital’s burgeoning jazz scene – previously collaborating with everyone from Shabaka Hutchings to Moses Boyd and Yussef Dayes – the ‘Breathe Deep’ LP sees Oscar bring in an army of collaborators that he says have been an integral part of his journey so far. Other guests include friends in Ezra Collective, Sons of Kemet and Maisha, as well as the critically acclaimed singer-songwriter Lianne La Havas. The record arrives off the back of a fast-growing catalogue that’s seen the Norwich-born guitarist and vocalist pick up frequent support and playlisting from the likes of 6 Music, Radio 1 and 1Xtra and embark on packed-out tours around the US, UK, Europe and Australia (including a tour with American jazz maestro Kamasi Washington and his biggest headliner to date at London’s Heaven).

Talking about his debut album, Oscar says: “‘Breathe Deep’ is a pretty broad presentation of who I am musically and my journey to get to this point. On a personal level, it’s a reflection of the effort put in during that path of self-bettering, both emotionally and in life more broadly. It’s about preparing oneself for failure and growing from that. Taking a moment to step back and see where things are going and where one has been. It also addresses the resilience of people, which is reflected in the more political moments on the album. The world is a messed up place but people still find ways of preparing themselves for it.”

Sometimes a work of art comes unintentionally from a place from deep within the soul. It meanders and flops onto a table and sits and waits for its birth.
The album begins with "Wait Till The Stars Burn", a planetary ode to the Sun. The second track "Tribute to the Pharoahs Den", is a requiem for Danny Ray Thompson (R.I.P.) of the Sun Ra Arkestra, his music and legacy now floating above us in the infinity of space. Both tracks and featuring Marshall Allen and Knoel Scott (of the Sun Ra Arkestra).
The album ends with a requiem for Hal Willner (R.I.P.) whose devotion to celebrating the weird and insane was like an insatiable thirst leading to deep introspection and joy in harmony and sonic dissidence.
These compositions have all come from this place inside my bipolar, seroquil ridden mind. It is as much a tribute to the great composers who have inspired me; Alice Coltrane, Rahsaan Roland Kirk, Philip Kelan Cohran, Bernard Herrmann, Ennio Morricone, Miles Davis, Sun Ra, John Carpenter, Quincy Jones, Old Bollywood, Film Noir, to name just a few. In my 23 years of being a composer of music I have had the great opportunity to score several films all of which never got any commercial fame. These films were made from the blood and sweat of film directors and their crews who tirelessly made incredible documents that were ultimately ignored by humanity. But that never stopped them nor will it stop me. These tracks are from the infinite celluloid that runs deep in my mind, body and soul. In my lifetime i never thought i would see the deaths of "Celluloid" or "analog recording". I refuse to accept the coroner reports on said fatalities, so here is my offering to the canon of cinematic overtures and analog self-preservation, for the films in our heads yet to be made.

Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians, who've taken on jazz as their musical narrative. On his new album Bring Backs the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, Antiphon and the 2019's album Structuralism were both self-released on his Sekito label. His latest endeavour, 2021's Bring Backs, sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.

Billy Harper is one of the great tenor saxophonists in the post-Coltrane mold. Originally from Houston, TX and with a degree from the venerable University of North Texas College of Music, Harper emerged on the New York City jazz scene in the late 1960s performing with Art Blakey, Max Roach, Lee Morgan and others. Known for his soulful and propulsive tone, Harper was already a highly regarded and prolific session man before the release of his debut album as a leader on the cult favorite Strata-East label in 1973.

Recorded in 1975, Black Saint was the second album for Billy Harper as bandleader and is the most acclaimed and fully realized of his long career. The inaugural release of the Italian label Black Saint – to which the album lent its name – is comprised entirely of Harper compositions; the peaceful and subdued opener “Dance, Eternal Spirits, Dance!,” the swinging and fiery “Croquet Ballet” and the side-long epic “Call Of The Wild And Peaceful Heart.” Harper’s group features trumpeter Virgil Jones - a graduate of Roland Kirk’s mid-60s groups and session player for McCoy Tyner, Charles Tolliver and others - along with Joe Bonner on piano, David Friesen on bass and Malcom Pinson on drums.

Black Saint is too melodic and swinging to be free jazz but too forward-thinking to be described as modal post-bop; Harper’s advanced compositional sense and galvanic tenor work make this an album of pure fire music. This is a beautiful album back into print on its original format for the first time in over 40 years.

Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group have created their own singular sound.And while their new music mixes dense layers and textures with electronic and acoustic instruments the sound remains uniquely, recognisably their own.

In 2017 they released their fourth studio album in a decade, Art in the Age of Automation, on Gondwana Records. Released to a chorus of acclaim, the album marked a triumphant return for the Quartet after a brief hiatus as the three-piece, Portico, and marked a welcome return to the stage for the foursome with sold-out shows across Europe including the Roundhouse, London earlier this year.

Untitled (AITAOA #2) was largely recorded at the same sessions as Art in the Age of Automation at Fish Factory Studios in London and Portico Quartet's own studio in East London. Like it's predecessor, the album was mixed at Voxton in Berlin. It is intended as a companion piece to last year's AITAOA. But works equally as well as a stand-alone album and explores similar areas of enigmatic, widescreen minimalism alongside the more hard-hitting sounds that have become a notable part of their live shows. There is no lessening of quality here, album opener, Double Space, Index, View From A Satellite and Berlin were all originally slated for AITAOA, before being held back as the band's vision of that album came into sharper focus. The insistent groove of Unrest and cinematic beauty of Celestial Wife were enhanced with further recording sessions till the band felt they were complete. The artwork is by Duncan Bellamy for Veil Projects.

"During 2016 we embarked on writing Art in the Age of Automation, and it ended up being an incredibly fertile period for us. We wrote a lot of music - too much - but ultimately decided to record it all during recording sessions in December 2016/January 2017. After releasing AITAOA we still had a lot of music leftover... music that could easily have made it onto the album. The more we listened to these tracks the more we wanted to share it, so we set about crafting it into something worthy of release. We're really excited to share the results!." Duncan Bellamy

First ever vinyl reissue of this Spiritual / Modal Jazz private album from 1980, originally released on the RPC custom label from the US. Including top modal tracks like 'Do Dat' or 'Circles', the terrific jazz-funk of 'Unicorn' and more.

"For The Children" was written and produced by Anthony "Tony" Branker while he was a senior in the Princeton University Department of Music in 1980. It features Branker on trumpet, a young Stanley Jordan on guitar (this is his earliest recorded work), Glenn Cashman on alto, soprano and tenor sax, Gary Monhein on piano, Dan Krimm on bass and Jeff Penney on drums.

Remastered sound, original artwork.

This is the debut album from the Nancy-based quartet NCY Milky Band.
The four musicians deliver unique jazz experiments at the crossroads of 70's french groove and modern electronica.
The album covers a wide range of moods, switching from cheerful anthems with goofy synths to slow jams in which the saxophone breezes a deep feeling of nostalgia.
With Burn’IN, NCY Milky Band are bringing a refreshing and original touch to the upcoming french jazz scene.

Portico Quartet announce Terrain, a three-part suite drawing on American minimalism and ambient music alongside their own rich heritage as they explore new musical vistas

When Duncan Bellamy and Jack Wyllie – the driving force behind Portico Quartet got together in their East London studio in May 2020 and started work on the music that would become their new album, the world, or most of it, was in the midst of the first lockdown. The unique impact of the events of 2020 became the backdrop to their time composing and recording; causing them to take stock, re-think, and plot a new musical path.

Indian novelist Arundhati Roy expressed the sense of grief and rupture from the pandemic as "a portal, a gateway between one world and the next", and as they created the music that would become Terrainthey were drawn towards longer, slowly unfolding pieces, which are perhaps the most artistically free and also the most beautiful they have ever made.

These are compositions more in the lineage of Line and Shed Song (Isla/2009), Rubidium (Portico Quartet/2012) and Immediately Visible (Memory Streams/2019). Wyllie expands: "We've always had this side of the band in some form. The core of it is having a repeated pattern, around which other parts move in and out, and start to form a narrative. We used to do longer improvisations not dissimilar to this around the time of our second record Isla. On Terrain we've really dug into it and explored that form. I suppose there are obvious influences such as American minimalism, but I wasparticularly inspired by the work of Japanese composer Midori Takada. Her approach, particularly on 'Through the Looking Glass', where she moves through different worlds incorporating elements of minimalism with non-Western instruments and melodies were at the front of my mind when writing this music".

Terrain I, II & III are all subtly different, but a short rhythmic motif that repeats is the starting point in all three movements. There is a sense of a shared journey to all these pieces, they move throughdifferent worlds, with a sense of horizontal movement that lends the music real momentum. Terrain I was the first piece they worked on and it started with a hang drum pattern, improvised by Bellamy, who added cymbals and synthesiser. From there on it grew, Wyllie adding saxophone, another synthesiser section, strings. For Bellamy "It felt more like filmmaking than music making, a bricolage of conflicting, shifting signs, subtle tension and multiple narratives. Andrei Tarkovsky's 'Mirror' and British artist John Akomfrah's incredible 'Handsworth Songs' were pivotal points of reference for me." Wyllie expands the point. "There is a sense of conversation between us both, in that someone presents a musical idea, the other person responds to it with something else, which would then be responded to again... until it feels finished. These responses are often consonant with each other but there is also a dissonance to some of this work. The music slowly evolves through these shared conversations."

It is this sense of dialogue, both between the composers, and between tranquillity and a subtly unsettling melancholy, that makes Terrain such a powerful statement. One that speaks to both our interior and exterior worlds, to our own personal landscape, to our Terrain.

LEGENDARY SESSION ! FIRST TIME EVER ON VINYL AND CUT DIRECTLY FROM THE ORIGINAL MASTER TAPES WITH NO DIGITAL PROCESS WHATSOEVER!!!

TIP ON SLEEVE PRINTED JUST LIKE THE OLD NIMBUS LP’s FROM THE 70’s and 80’s… BRAND NEW ARTWORK FROM ORIGINAL SESSION PHOTOS AND LINER NOTES BY Mark Weber

At long last…On Vinyl…From original tapes. 3/5ths of the Quintet that recorded "‘the Giant is Awakened’ LP in 1969…this album sat unreleased for 20+ years before it saw a small run on cd (with poor mastering the early 2000’s), now, 40 years after it was recorded, finally released in the original format it was intended for….This LP sounds fresh and amazing…if you’ve only heard the cd, you’ve not truly heard this lost gem in its full glory. edition of 500




Born in Mississippi in 1937 and beginning to play the saxophone at 14, Billie Harris relocated to Los Angeles in 1965 after a 4 year stint in the Air Force, becoming one of the great, unsung forces of underground jazz in the city for many years (he later relocated to the Mojave Desert, where, at last record, he still plays in a church band). A Venice Beach street musician and longtime member of the Pan Afrikan Peoples Arkestra - you can hear him playing on Live at I.U.C.C. and Flight 17, as well as Jesse Sharps Quintet & P.A.P.A.’s Sharps and Flats (reissued in 2018) - he was also director of the AZZ IZZ jazz club in Venice Beach during the 70s.




On April 29 and May 3, 1980, Harris entered the studio, backed by Horace Tapscott on piano, David Bryant on bass, Daa’oud Woods on percussion, and Everett Brown Jr on drums, recording, over those two days what was to be his only outing as a leader. Once heard, the tragic lack of further material can’t be ignored. It is a truly stunning piece of work, even more surprising for the fact that it sat unreleased for over 20 years, only to be released as a small, poorly mastered edition on CD during the early 2000’s. Now, finally appearing very first time on the format and label for which it was intended, 40 years after it was recorded, we can hear this lost gem in all its glory.




Harris was 43 years old at the time of the Nimbus West sessions that resulted in I Want Some Water, and the power and experience of his playing, honed over three decades, shows in full force. The band is equally imbued with power, sensitivity, and experience. Tapscott, Bryant, and Brown’s working partnership goes back to 1969, when they recorded Tapscott’s debut as a leader, The Giant Is Awakened. In quintet’s hands, channeling the heavy modal relationships pioneered by Coltrane, heavy spiritual groove lock and unfurl, threaded by the release via incredibly forward-thinking improvisation.




Like so much of the work that came out of the Pan Afrikan Peoples Arkestra scene, I Want Some Water has a giant sound, each track long in length, building slowly over time toward towering heights that leave the listener immersed in one of the greatest treasures of spiritual jazz that almost nobody ever heard. Rhythmic, rollicking, and tonally inspired, the joyous interplay of the band goes deep, locked in, and challenging the predictable path, while making nods to numerous, discreet traditions of music.




As far as reissues go, Nimbus’ first ever vinyl pressing of Harris’ I Want Some Water is about as good as it gets. Not only does it deliver some of the best music we’ve heard all year, but it takes huge steps toward allowing a crucial artist to be celebrated in a way that he’s always deserved.

Cut directly from the original master tapes, featuring brand new artwork from the original sessions and liner notes from Mark Weber, and issued in a limited edition of 500 copies, it’s an absolute must that can’t be missed.

EURO FUNK HOLY GRAIL! Featuring superb drummer Sylvain Krief, Airto Fogo's sole album from 1976 is one of the best instrumental jazz-funk / rare-groove albums ever recorded in France. Heavy drums, Rhodes, analogue keyboards, deep bass, hot horns, Blaxploitation & Latin touches...Highly recommended if you like PLACEBO, CCPP, THE J.B'S, DEODATO, BEN & THE PLATANO GROUP, GODCHILD...

LP + Free Digital Download coupon.

"AK Musick" was originally released in 1972 as a private edition of 150 copies on Hans Kumpf's legendary AKM Records label. Radical, freaked-out sound with hints of free-jazz, improv and avant-garde. File next to Anima, Annexus Quam, Albrecht D, Gulda, Nihilist Spasm Band, Nurse With Wound...



AK Musick was an improv collective assembled by clarinettist Hans Kumpf to make music in a very democratic way'. The five players had a classical education but they were also influenced by avant-garde composers like Helmut Lachenmann and Johannes Fritsch. Their only album, AK Musick', was recorded in 1972 at the famous Bauer Studios in just three hours and engineered by Martin Wieland, who had previously worked with Keith Jarrett for the ECM label. Some of the instruments used were: clarinet, cello, oboe, organ, piano, darbuka, tam-tam, ektare, flute, zither...Includes the amazing Impro-vision' which sounds like electronic music but using only natural instruments.



AK Musick' saw the light in 1972 on Kumpf's own AKM Records label. It was a private homemade edition of 150 copies with spray printed covers. During the 70s, AKM Records was also home to other free-jazz rarities like Free Blacks' by Perry Robinson / Hans Kumpf (where Hans also collaborated with his friend Wolfgang Dauner) and In Time' by Theo Jörgensmann.



Very hard to find now, we present the first ever reissue of AK Musick' done under license from Hans Kumpf.e








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First ever vinyl reissue of this German private press from 1978.

Produced and recorded by the group and only sold at local shops and venues. Excellent and perfectly executed Latin-Funk / Jazz-Fusion with heavy Brazilian vibes.

Heavy latin percussion / congas / berimbao, electric guitar, sax, flute, synths, Rhodes, male/female vocals in English / Spanish...

Including club classics like 'Sol y Sombra' (pure Balearic sound, championed by Jazzanova), 'Just Like The Rainbow' (fab bossa-scat-jazz), 'You Keep Me Running' (killer disco-boogie), "La Salsa" (hot latin-funk-rock jam) and much more.

Includes insert and download card.

Repress

“Whichever end of her spectrum Lee swings toward-- the harshly noisy or the hypnotically meditative-- her sound always commands attention” Pitchfork “Okkyung Lee wipes the floor with just about every solo improviser out there, displaying a boldness and complete disregard to compromise that makes every last second a visceral thrill” The Quietus “Curious soundscapes that vibrate with a world of ambiguous meaning. Strings, air, human bodies, all vibrating; decipherable only to one another and perhaps time-space itself.” NPR “It feels as though you’ve put your ear next to her instrument, or inside it — that intent becomes physical. Her playing is calm and steady: It doesn’t present itself as strange or ask for your permission. It’s serious, but not wearying.” New York Times.
Springing from body of work spanning decades, defined by a rigorously singular and adventurous approach to sound, cellist, composer, and improvisor, Okkyung Lee, returns with ‘Yeo-Neun’. Her first outing with Shelter Press, and arguably her most ground-breaking and unexpected album to date.
A vital force in the contemporary global landscape of experimental music, Okkyung Lee is widely regarded for her solo and collaborative improvisations and compositions, weaving a continuously evolving network of sonority and event, notable for its profound depth of instrumental sensitivity,
exacting intellect, and visceral emotiveness. ‘Yeo-Neun’, recorded by Yeo-Neun Quartet - an experimental chamber music ensemble founded in 2106 and led by Lee on cello, featuring harpist Maeve Gilchrist, pianist Jacob Sacks, and bassist Eivynd Opsvik - represents the culmination of one of longest and most intimate arcs in her remarkable career. A radical departure from much of the experimental language for which she has become widely known, it is equally a fearless return.
‘Yeo-Neun’ loosely translates to the gesture of an opening in Korean, presenting a window into the poetic multiplicity that rests at the album’s core. Balanced at the outer reaches of Lee’s radically forward thinking creative process, its 10 discrete works are born of the ambient displacement of musician’s life;
intimate melodic constructions and deconstructions that traces their roots across the last 30 years, from her early days spent away from home studying the cello in Seoul and Boston, to her subsequent move to New York and the nomadism of a near endless routine of tours. At its foundation, lay glimpses of a once melancholic teen, traces of the sentimentality and sensitivity (감성 / Gahmsung) that underpins the Korean popular music of Lee’s youth, and an artist for whom the notions of time, place, and home have become increasingly complex.
Elegantly binding modern classical composition and freely improvised music with the emotive drama of Korean traditional music and popular ballads, the expanse of ‘Yeo-Neun’ pushes toward the palpably unknown, as radical for what it is and does, as it for its approachability. In Lee’s hands, carried by a body of composition that rests beyond the prescriptive boundaries of culture, genre, geography, and time, a vision of the experimental avant-garde emerges as a music of experience, humanity, and life.
Meandering melodies, from the deceptively simple to the tonally and structurally complex, slowly evolve and fall from view, the harp, piano, and bass forming an airy, liminal non-place, through which Lee’s cello and unplaceable memories freely drift.
Remarkably honest, unflinchingly beautiful, and creatively challenging, Shelter Press is proud to present ‘Yeo-Neun’, an album that takes one the most important voices in contemporary experimental music, Okkyung Lee, far afield into an unknown future, bound to her past.
Mastered and cut by Rashad Becker, housed in reversed board printed inner and outer sleeve with artwork by American photographer Ron Jude

- An electrifying, previously unreleased studio album from the late South African genius of jazz, recorded in 2003

- The first new material by the artist to have emerged in nearly two decades

- Liner notes by Blue Note recording artist Nduduzo Makhathini, and by music educator and poet Eugene Skeef, producer of the original session

- Photographs by Siphiwe Mhlambi, Rashid Lombard and Cedric Nunn

- Fully licensed, 180g 3-sided double-vinyl edition of 500 copies, presented as the first release on Tapestry Works.

‘A divine summary of his life story’ - Nduduzo Makhathini

Self-taught multi-instrumentalist and composer Bhekumuzi Hyacinth Mseleku (1955-2008), known as Bheki Mseleku, is widely considered to have been the most richly gifted South African jazz musician of his generation. Born in Durban, he moved to Johannesburg in the mid-1970s and played with groups including Spirits Rejoice, The Drive and Philip Tabane’s Malombo. In 1980, he left apartheid South Africa for exile in Europe, travelling with his close friend Eugene Skeef. (A percussionist, educator, poet and former close comrade of Steve Biko, Skeef originally produced the Beyond The Stars session, and contributes liner notes to this release.)

Bheki spent six difficult years in Stockholm before moving to London. After a triumphant debut at Ronnie Scott’s, in 1992 he would release his now classic debut album Celebration for World Circuit, before signing with Verve. He would go on to achieve worldwide recognition, recording and touring with jazz luminaries including Elvin Jones, Pharoah Sanders, Joe Henderson and Abbey Lincoln.

Throughout his life, Bheki struggled with both his physical and mental health. He was, as Eugene Skeef puts it, ‘a conduit for the healing energy of music to flow into the world’, a gift that came at a cost. At the start of the new century, Bheki returned to live in South Africa, but just a few years later he found himself in compound difficulties: life at home had proved too hard, and he was not well. He had also lost his imported Steinway upright piano in an unwise business deal and had not been able to play. In 2003, Skeef helped him return to London, where they hoped to realign his health and rekindle his career. Through his work with the London Philharmonic Orchestra, Skeef arranged for Bheki to have access to the Steinway concert grand pianos held at Henry Wood Hall. After Bheki had spent a few weeks recuperating, Skeef booked a studio session at Gateway Studios.

Beyond The Stars was the result: a stunning, solo piano suite which condenses Mseleku’s visionary overstanding of South African music into a flowing, pulsing statement in six parts. With jazzwise echoes of marabi, amahubo, maskanda and Nguni song forms binding it to the deep music of Mseleku’s Zulu heritage, Beyond The Stars provides what Blue Note recording artist Nduduzo Makhathini describes in his liner notes as ‘a divine summary’ of Bheki’s life story: ‘a sonic pilgrimage from the beautiful and organic landscapes of Durban, to the vibrant energy of London and ultimately toward the inner dimensions of one’s being.’

But releasing the album proved impossible at the time, and so the session has remained unheard. Bheki sadly passed on in 2008, without having released a new album for five years; almost two decades have now passed since any new music by him has emerged. Working with Eugene Skeef, Tapestry Works is proud to break the silence with a first issue for Bheki Mseleku’s visionary masterpiece, Beyond The Stars.