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Roots – A rare window on the progressive South African Jazz scene of 1975 - reissued.

Frederiksberg Records is proud to announce the first ever reissue of the self- titled debut of 1970s South African jazz ensemble Roots. Blending jazz and funk with signature South African motifs, Roots was led by the master saxophonist and living repository of the story of jazz in South Africa, Barney Rachabane.

Rachabane was born in Alexandra township on the fringe of the city of Johannesburg and began his career as a young pennywhistle prodigy under the wing of South African jazz pioneer Zakes Nkosi. Moving on to the saxophone, he was part of the influential 1950s Dorkay House scene among the likes of South African jazz notables Dudu Pukwana and Gideon Nxumalo and later appeared on Chris McGregor’s iconic Jazz/The African Sound LP in 1963.

In 1975, Racahbane teamed up with trumpeter Dennis Mpale and fellow saxophonist Duke Makasi to lead an ensemble named Roots. The reedmen were accompanied by a formidable young rhythm section comprised of Sipho Gumede on bass, Jabu Nkosi on keys and Peter Morake on drums. Navigating the poles of popular township soul and avant garde Afro-jazz that characterized the South African music landscape at the time, Roots emerged with a crossover sound that would later open the door for the jazz fusion experiments of Pacific Express and Spirits Rejoice in the late-70s.

Produced by Almon Memela and originally released on the Highway Soul label, Rachabane surmises that their self-titled album owed its sound to the unique combination of musicians featured. “We were just doing original music by a group of individual musicians. We just put out what we had. Not just one direction. As you can hear, the music is quite diverse,” he recalled in an interview for the reissue’s liner notes. Despite commercial ambitions, the Roots ensemble was short-lived but did manage a second recorded offering called Deeper Roots before disbanding.

Rachabane’s career would take off in the 1980s through his participation in Paul Simon’s Graceland album in 1986 and its subsequent world tours. Paul Simon welcomed news that the Roots album was being reissued and remarked that “Barney Rachabane is one of the most soulful saxophone players in the world.” The 2020 reissue of Roots pays homage to the recently retired veteran of South African jazz and contributes to the growing interest in and documentation of the story of South African jazz.

Kamasi Washington composed and produced the original score for Becoming, the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, Becoming documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop. Young Turks Recordings will be releasing Vinyl and CD of this Emmy nominated score on 11th December 2020.

The Rongetz Foundation is back with a new album named Velvet Bullet. The forceful music of the adapting sextet is generating a wide range of sensations. From the punchy « Sun Strike » to the hypnotizing « Optophobia », auditors will be able to bounce and dance to « Velvet bullet », « Whirling Dervish » and « Baroque Buffoon ».

Rongetz acts as caster in chief and brings in some of the most promising talents of the New York jazz scene. Simon Moullier on Vibes is already recognized by Herbie Hancock and Quincy jones as one of the best musician of his generation, same goes for Jonathan Barber (Drums) Tivon Pennicott (Tenor Sax) and Alexander Claffy on Acoustic Bass. Also featuring on the album is a Nuyorican gem that Rongetz discovered in Manhattan few years ago, Carlos Jimenez (Flute). Keita Oggawa (Percussion) from Snarky Puppy has also joined the team on two tracks.

Elegant and powerful, as demonstrated by the breath taking opening piece « Sun Strike », the Velvet Bullet will be out February 19th 2021 and is surely not to be dodged.

Roots Underground is at its 6th release, with this new sophisticated EP.
A collab between italian producer, but Berlin based, Luca Murgia a.k.a. TWO THOU and the jazz ensemble HOBBY HORSE, composed by Dan Kinzelman, Joe Rehmer and Stefano Tamborrino.

Feats are very present throughout the whole record, like in the exotic broken beat opener THE CHASE (A1), where Eric Demuro bass licks intertwine with Kinzelman's flute and Two Thou beats.
INDIA SCI-FI (A2) is a sultry ambient painting, enriched by balearic flavours, courtesy of Mike Matias, sending the listener in a dreamy altered state.
The B side opens with a collaborative rework, CASCADE (B1) by Two Thou with Brooklin's Eric Porter, better known as Afrikan Sciences of an already released track by HOBBY HORSE (Helm, 2018)
Porter lays the drums and Two Thou morphs the hypnotic double bass/bass clarinet loop in a solid organic "house" track, with deep and dubby vibes, that will be appreciated by picky clubgoers everywhere.
The EP includes also the original version of CASCADE ( B2)

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall.

Two days later an email from Matthew hits Mr Bongo's inbox... "I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared.

The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

* First ever beats, breaks and rare grooves compilation
from ex Yugoslavia
* Eastern European diggers delight
* Remastered straight from the vaults of Jugoton
* Raw funk, psych, prog rock, orchestral disco, big band jazz
funk and more...
* Start of a new series on Everland Music, dedicated to
extraordinary 60ies and 70ies artists from ex-Yugoslavia
* Exclusively distributed by Everland Music
* Limited edition of 500 dbl.LPs in stunning gatefold sleeve
Yugoslavia - six republics, four decades, one dictator and a single record label that ruled them all: Jugoton (Zagreb, Croatia). Jugoton
was by far the country's largest label with the strongest and most diverse output that stretched from Balkan roots to contemporary
trends and the sound of tomorrow . The early days of Yugoslavia featured strong censorship but by the end of the 60's the Communist
party views softened up by a large degree. Westernized music already had a solid presence and first James Brown influenced
compositions were released. Yugo funk, a term coined by DJ’s and crate diggers from the Balkans, encompasses a wide variety of
performers and genres: from the 60's merseybeat rock bands, prog rock groovers and big band jazz orchestras to the late 70's
sophisticated 4x4 funk and essentially everything in between. Jugoton Funk Vol.1, a first of its kind, celebrates the pioneer years of
funk infused music released by Jugoton. While in pursuit of these treasures all over the Balkan region and beyond, the compilation’s
selectors, Dr. Smeđi Šećer & Višeslav Laboš, both active as DJ's and crate diggers from the sole beginnings of the ex-Yu craze, wanted
to capture the authentic and idiosyncratic funk sound of Jugoton and Yugoslavia. So here it is, comb your moustache, light up a fat
one, turn up the amplifier and headbang away to these amazing tunes remastered from original master tapes dug out of the Jugoton
vaults (now Croatia Records). - Compiled by Dr. Smeđi Šećer & Višeslav Laboš.

Tim Gick's already-warped patchwork editing of the entire Crazy Doberman output thus far turns increasingly glitched out across the splattered quiltwork of a nine track LP on Aguirre. Any coherent sense of time departs early on the A-side; kicked off with the familiar sound of the Dobes' synth throb and Love-cry woodwinds on top of completely fried electric guitar squiggling, all suspended in spiritual foam; then battered to bits on the greasy flat top of the record's b-side.

Ringing modular synth sirens evoke alarmingly huge Southern watersnakes swimming on top of Oconee river. Total trip zone across two sides: brownouts in the sequence of events, dubby fadeouts, and bright jump cuts in space. Teases of cartoon barrlehouse tickling on the keys of a farmhouse piano and tape melt psychedelia. The recording session in Athens, Georgia was a total "CHUGFEST" recalls Frank Hurricane, the Appalachian juggalo folkie king, who joined the session with the Lafayette, Indiana crew. The presence of Hurricane's own "Life is Spiritual" mirth bulworks the record with a muddy, barefoot hippy hopefullness, steadying the log flume through the notcturnal psychic murk toward the holy morning dew. (J. Russ)

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

MELANGE returns with it's fifth outing. This time Label head Earl Jeffers teams up with friend and all round don K15. A 3 tracker, all with different influences and feels, from Bruk to library tinged hip hop and then some!!

Often missing in Naná Vasconcelos' discographies, this is in fact the first recorded work to his name, one year before recording for Pierre Barouh's Saravah label in France the records that introduced him to a wider audience. Offering an early glimpse of his unique approach to music, THE INCREDIBLE NANÁ features the first recorded version of "Concerto pra Mae Bio", a composition Naná redid for his ground-breaking album Africadeus, which effectively appointed him as the world's most skilled master of the berimbau, the single-stringed Brazilian instrument intrinsically linked to the Capoeira tradition.

A brief set of concerts in Buenos Aires in 1971 with saxophonist Gato Barbieri, whose band he had just joined, would result in this one-off studio session with Argentinian guitarist Agustín Pereyra Lucena. Although Naná was already a respected musician back in Brazil as a member of Milton Nascimento's band and for his participation in numerous albums of the era (often uncredited, as in the third album by tropicalist psych-heads Os Mutantes), it is here that Naná was given the first chance to truly display what music meant for him, and what a berimbau could do.
The vertiginous chain of feats that followed the recording of this album include several Grammy awards, a string of albums for the leading contemporary music label ECM, work with Don Cherry, Pat Metheny, Egberto Gismonti, Caetano Veloso and too many other top-class musicians to be listed here, several original soundtracks as well as being elected best percussionist by the critics poll of the prestigious jazz magazine Down Beat for seven consecutive years.

Agustín Pereyra Lucena, then a young musician who had just released his debut album and received praise by the great Vinicius de Moraes, would pursue a life-long career in search of the perfect chord and became the de facto ambassador of Brazilian music in Argentina. Despite having several excellent albums under his belt, he rarely played outside of Argentina and therefore remained relatively unknown to the wider public, but his skills didn't go unnoticed to visiting Brazilian musicians like Dori Caymmi, Toquinho or Ed Motta, some of whom he befriended or shared a stage with.

The recording of this spontaneous, one-off affair remains a witness of what this relationship between two gifted musicians could have yielded had it lasted a bit longer.

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

Rabih Beaini's Upperground Orchestra (Beaini, Alvise Seggi, Tommaso Cappellato. Piero Bittolo Bon) back with their first studio material since 2008. More info soon...

To celebrate the memory of John Lennon, rediscover all the greatest songs of the leader of the Beatles in a tribute from the Jazz scene. A selection of the finest covers ever made : from Imagine to Jealous Guy or even Come Together by such talented artists as Curtis Stigers, Lucky Peterson, Joe Jackson...

For its latest release, "Matasuna Records" goes back to Latin-influenced realms and presents two songs by US musician "Fred Ramirez", which are available for the first time as official reissue on 7inch vinyl. These are instrumental cover versions of well-known soul and jazz hits, which take a completely new direction under Fred Ramirez' killer Latin jazz-funk influence. The songs were transferred from the master tapes and got a new mastering to sound as good as never before.

Born in Los Angeles, Fred Ramirez began his classical piano training at the age of six. At the age of 16 he bought a Musser Vibraphone and taught himself how to play by listening to the likes of Cal Tjader, Tito Puente and Milt Jackson. He started playing in nightclubs and his talent as a young pianist & vibraphonist quickly spread throughout the L.A. jazz scene. In the 60s and 70s he played in various bands and was on many tours across the states. In his extensive career he has worked with many greats of jazz and Latin America. With his own Latin jazz ensemble he was a welcome guest at numerous festivals and jazz clubs until the beginning of the new century.

In 1967 Fred released two singles with cover versions of well-known soul & jazz songs on Warner Bros. records, on which his unmistakable and extraordinary piano style and talent is evident.
He was also a member of the nine-piece band "Macondo", which was signed directly in the recording studio by "Ahmet Ertegün", one of the founders of Atlantic Records. In the same year 1972 the LP was released on Atlantic.
In 1995, he released an album on CD with a multi-piece orchestra entitled "A Tribute to Legends of Latin Jazz" as a homage to to musicians who had an influence on him. A live CD followed in 2002, which was recorded at the Steamers Jazz Club (California).

"Hold On I'm A Comin" on side A is a cover version of the 1966 soul hit by the duo "Sam & Dave", written by Isaac Hayes and David Porter. A killer drum break and a deep bass line is the basis for Ramirez' virtuoso piano playing, which is complemented by brass and drums. Ramirez thus creates an independent, extraordinary Latin jazz version that is in no way inferior to the original and is brilliant due to its musical expansion and independence.

Side B contains another exceptional cover version of the instrumental jazz song "Comin' Home Baby" written in 1961 by "Ben Tucker" and "Robert Dorough", which became a jazz hit in 1962 with the vocal version of "Mel Tormé'". Ramirez' cover radiates a very special vibe through his sheer piano playing, which is especially evident in the twist in the middle of the song, where it increases in intensity and creates a lot of pressure and dynamics. Outstanding!

Moses Boyd is at the forefront of the New British jazz scene having worked and recorded with like of Giles Peterson, Four Tet, Sons Of Kemet, Zara McFarlane and more. With 2 MOBO Awards to his name and Multiple Releases via his Label Exodus Records. Moses has established himself as one of the leaders in bringing the worlds of Jazz and Electronic music together.

This latest release is taken from the same sessions that brought us Rye Lane Shuffle. Displaced Diaspora is a collection of music from Moses Boyd recorded in 2015 that features some of the now leaders of the New British Jazz Scene Such as Theon Cross, Nubya Garcia and Nathaniel Cross. As well as the Iconic British Soul Vocalist Terri Walker, Saxophonist and Bata Player Kevin Haynes and his group, Grupo Eleggua and Rapper Louis VI. The music is a mix of Jazz, Yoruba chants with Hip Hop and electronica influenced beats.

in the labels 15th year history there only been a few reissues in the widely ramified discogra-phy. lydia lynch in 2006, hans-joachim roedelius in 2013, fumio itabashi ‎in 2018 and soon skymark ‎with his jazz album “primeiras impressões”.

the italian producer, composer, record collector and modern sun records label co-runner, that listens to the name marc friedli when he hands his tax report to the government, is no stranger to fans of modern brazil, disco, fusion, house, latin, jazz, funk, soul and all other organically swinging music that grooves classical and deep.

since 2007 he released a string of albums and ep’s on his own label as well as on imprints like neroli, mukatsuku records or rush hour, showing his impressive electric piano keyboard skills and unique communication on and with an array of vintage synthesizers like arp, proph-et, moog, roland or korg.

on his privately pressed, strictly limited to 150 copies album “primeiras impressões” he de-livered in 2013 nine gently jazzing tunes that process his experiences in the heat of the city of rio de janeiro.

they are intensely spiritual. they avoid ornamentation. and they bow before jazz history with a gentle respect, while adding an elegantly searching, thrillingly uplifting freshness to the genre with deep discreet minimal funk and light as a feather piano-melodies, as if the key-board were a saxophone.

Herman Poole Blount, better known to the world as Sun Ra, lived more musical lives in his 79 years on this planet (and others) than seems possible. In the 30s he was the most rigorous bandleader in Birmingham, heading the Sonny Blount Orchestra and filling every waking moment with music or philosophical discussions, by the 40s he had moved to Chicago and performed with luminaries such as Wynonie Harris, Fletcher Henderson, and Coleman Hawkins. By the 50s he had changed his name to Sun Ra and began performing with longtime Arkestra bandmates John Gilmore and Marshall Allen. Ra started his own label, El Saturn (or Saturn), to release his own recordings as well as those featuring the Arkestra backing local R&B and doo-wop groups. Ra also worked with other local labels, playing on and producing singles throughout the Chicago area. Though the genres showcased here are more pop than the world has come to expect from Sun Ra, the vibe and feel is purely cosmic, producing some of the wildest, strangest R&B ever created on this side of the sun. This collection compile singles of rare hard to find early Sun Ra productions and performances from Juanita Rogers, Yochanan, Little Mack, and Sun Ra and his Myth-Science Arkestra, from 1955-1961. A must have for all true Sun Ra collectors, this is an impressive retrospective on the early days of this legendary music guru.

The New Philadelphians recorded their sole 45rpm single "Mustang" for the local Quaker City Jazz label in the late 1960s. And what a monster it is. 8 minutes of smokin' soul-jazz at its best. If someone would claim this was an unreleased Jimmy Smith Blue Note recording from 1969, no one would doubt it. More information about Charlie Chisholm and the band can be found on Tramp's "Movements Vol.10" compilation album.

Schmelzend und beschwingt: Berühmte Sänger knöpfen sich bekannte Weihnachtstitel vor: Wenn Dean Martin den Schöpfer dazu auffordert, es schneien zu lassen ("Let It Snow! Let It Snow! Let It Snow!"), Paul Anka weiß, dass nun überall Weihnachten ist ("It's Christmas Everywhere"), Harry Belafonte Glöckchen vernimmt ("I Heard The Bells On Christmas Day"), Frank Sinatra die Heilige Nacht beschwört ("Silent Night") sowie Bing Crosby & The Andrew Sisters beobachten, wie der Nikolaus in die Stadt kommt ("Santa Claus Is Coming To Town"), nähern wir uns nicht nur dem 24. Dezember, vor allem hat dann die Stunde der Crooner geschlagen. Mit ihren schmelzend-beschwingten Swing-, Soul- und Gospel Interpretationen bekannter Weihnachtstitel sorgen sie auf der LP-Kompilation "Noël Crooners" auf unterhaltsame Weise dafür, dass die Stimmung nicht ins Rührselige abdriftet, und dennoch eine besinnliche Note bewahrt bleibt. Das gilt auch für weitere Titel wie "Wade In The Water" (Sam Cooke), "Christmas In New Orleans" (Louis Armstrong), "Blue Christmas" (Elvis Presley) oder "The Snow Is Falling" (Ray Charles).

Blacklight Chameleon, a new moniker by Austrian producer Martin Riedler, presents a confusing or rather odd introduction with his new project on Nutriot Recordings. Riedler's music takes a stance halfway between studio production and live jam.

“The Band That Can Do Anything - that’s the literal English translation of the name of a band whose creativity, productivity and influence ran far and wide during the notorious era of racial oppression in South Africa. The Makgona Tsohle Band was easily the most popular and highly productive instrumental team in the African music business of the 1960s and ‘70s. Assembled by formidable talent scout and producer Rupert ‘Bops’ Bopape, Makgona Tsohle provided musical accompaniment on literally hundreds of Gallo recording sessions, as well as creating some of the biggest dance hits of the era. They are often credited with the invention of that staple township music, mbaqanga. A big boast – but only a slight embellishment. Makgona Tsohle’s members were utterly crucial to the style’s formation and development, reinforcing the more modern, danceable, electrified jive as the leading force in township music until the mid-1970s.

Makgona Tsohle Reggi was issued only once, in May 1970. It quickly became a collector’s item. This sought-after album now makes its welcome return to African record stores as well as its debut in the international market. The stunning diversity of the Makgona Tsohle Band’s musical genius spans pure sax jive through to swinging ‘60s soul, ska and even hints of rocksteady and ‘reggi’. This is the authentic sound of Soweto as demonstrated by the experts!”

• 1 x 180 gram heavyweight LP pressed by Mobineko Taiwan

• Digitally restored cover artwork on quality 350gsm gloss-laminated artboard

• Includes full colour double-sided insert with extensive historical notes, full personnel and newly discovered Makgona Tsohle photos from the archives

• Strictly limited to 400 copies

• The 50th anniversary reissue of this epic, experimental LP by the Makgona Tsohle Band, South Africa’s answer to the Motown Funk Brothers

• From the genius session team behind the music of the ace Mavuthela jive label and the 'Mahlathini & The Mahotella Queens' supergroup

• A unique Soweto take on Jamaican ska, American soul and ‘reggi’, plus the finest 1960s Afro sax jive

• Never previously reissued in any format!

• Fully licensed and transferred from the original master tapes in the Gallo studio vault

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall.

Two days later an email from Matthew hits Mr Bongo's inbox... "I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared.

The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

Blue Note 1967 - Classic Vinyl Reissue Series In 1967, pianist McCoy Tyner was ready for a new start. He had left the seminal John Coltrane Quartet two years prior and moved on from Coltrane’s label Impulse! Records, as well. With his Blue Note debut The Real McCoy, he made his masterpiece and firmly established himself as a creative force of his own. Featuring a world class quartet with Tyner joined by tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones, the album presented five timeless Tyner originals including “Passion Dance,” “Search for Peace,” and “Blues on the Corner.”

LINER NOTES BY JOHN-PAUL SHIVER:

Reinier Thijs a.k.a. Thijsenterprise's new project Lahringen begins where most of his previous creations have left off. Through reedy skronking sax, no easy listening aesthetics here, we get that passport to the '80s. The intersection between Lou Reed's old New York attitude and the encroaching rhythmic assault about to hit. Post-punk, featuring steady bass lines—peak demon Jaco to cool as fuck Slits era—in transit.

The first track in, bumping new-wave-jazz bravado, immediately covers those grounds the Dutch native likes to dig in on. He pays tribute to Gato Barbieri with "El Arriero", continuing in that off-kilter mash-up of sound textures. This time its beats and machismo.

But "Sketchy", an original arrangement, taps Reinier's dedication to skateboarding. Named for when skate rats land a trick sloppy, non-smooth, or ugly he does in fact match the sound of the bass with the feeling of ‘meh.’ “The drums and percussion in the track carry a driving pulse, and the saxophone plays a light melody, ping-ponging between the groove of the rhythm section, making the track very repetitive, catchy," stated Reinier.

Composer, bassist and producer Henry Hicks AKA Horatio Luna is a musician intrinsically interwoven into the fabric of Melbourne’s bubbling music scene through his solo and collaborative work with musicians and producers from tight-knit creative communities in both Melbourne and Sydney. If you’ve at all followed the Melbourne music scene as it exploded onto the global stage in the last few years, you will likely be familiar with the undeniably infectious bass licks of Horatio Luna.

From his roots as a founding member of the influential hip hop /soul collective 30/70, to his extensive collaborative work with afro-house group Teymori, Horatio Luna forges his path by fusing styles, embracing genres and proudly defying labels. His musical output can be dizzying in its vastness, whether it be the unconventional dance music of Lush Life, his trad-jazz band John Henderson, spiritual improvisations with Foshe, or his most recent solo album ‘Yes Doctor’ on Melbourne label La Sape. Horatio Luna is one of the hardest working musicians in the game right now, who's recently been recognised for his contributions to the flourishing Melbourne scene with a feature on Gilles Peterson’s ‘Sunny Side Up’ compilation and documentary.

His new LP ‘Boom Boom’ on The Jazz Diaries is Hicks’ most dancefloor leaning offering to date. Utilizing his raw, unfiltered DIY approach to composition, Henry applies the sprawling, human energy of live jazz to the four-to-the-floor structures of early house music that in its soulful essence, captures the scratchy spirit of Detroit luminaries like Moodymann, Terrence Parker, and Mike Huckaby.

Horatio Luna’s music embodies an ethos of limitless creation, not bound by genre or style, as Hicks explains “I was always just about freedom in music, freedom in life. I wanted to hear new music and I’ve always been intrigued by abstract and contemporary ideas. Fusion music.”

This freedom in music is on full display with the album’s lead single ‘Fuck The System’, for which a video was created under football stadium lights in Melbourne. Heading into uncharted sonic territory, Horatio Luna effortlessly fuses grimey UK rap with his signature jazzy house bangas style. ‘Fuck The System’ is the message we need right now, imploring us to ‘rewrite the code’ and celebrate our creativity in all its limitless potential.

Showing the versatility of his talent throughout the record, Hicks delivers outer space bass licks on title track ‘Boom Boom’, drops rapped verses on ‘Fuck The System’, and even turns in an incredible reimagining of Detroit legend Patrice Scott’s classic anthem ‘Be Free’. ‘Boom Boom’ signals a new dawn in the Horatio Luna sound, exploring the inner-limits of what house music is, and the outer-
limits of what house music can be.

Blue Note 1963 - Classic Vinyl Reissue Series Lee Morgan’s magnum opus The Sidewinder — recorded in 1963 and release in 1964 — was both a comeback and a coronation. The prodigious trumpeter had debuted on Blue Note in 1956 at the age of 18, but personal problems in the early-60s forced him off the scene temporarily. His rebound recording turned out to be The Sidewinder, an assured and energetic set of 5 indelible Morgan originals featuring tenor saxophonist Joe Henderson, pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. The album became his biggest commercial success fuelled by the irrepressible title track.

Finnish jazz legend Olli Ahvenlahti presents his grade-A cooker "Minor Minor" from the LP "Thinking, Whistling" on 7". On the AA side, drummer-producer Teppo Mäkynen's celebrated alias The Stance Brothers presents first new music in 10 years with a tasty remake of the Ahvenlahti tune. The Stance version has a groove galore with the lead played on vibraphone adding levels upon levels to the operation, in signature "Teddy Rok" style.

Sahib Shihab was, in many ways, the Thelonious Monk of the baritone saxophone. Like Monk, he was an uncompromising individualist with an idiosyncratic, often quirky, approach to improvisation. And, in fact, Shihab and Monk had a strong mutual affinity. They worked together in the late forties and early fifties and became good friends. Shihab admired Monk for his oblique approach to jazz and his resolute non-con- formity and he shared much of Monk's musical philosphy.

He joined Luther Henderson's band before he was 16 but left soon afterwards to enrol for a year at Boston Conservatory. He then had a two year spell with Fletcher Henderson and later worked with Roy Eldridge. It was after he heard Charlie Parker that Shihab's music became strongly bop orientated.

He did his first record date with Thelonious Monk in November 1947 and later he worked with Art Blakey, Tadd Dameron, Dizzy Gillespie, Oscar Pettiford, John Coltrane and Illinois Jacquet. It was in 1951 that he added baritone saxophone to his range of instruments.

When the opportunity came, in 1959, to join the band of Quincy Jones for a tour of Europe with the musical Free And Easy, Shihab accepted it with alacrity because he had become disullusioned with the politics and racism of the United States. And when the tour ended, Shihab decided to remain in Europe, settling in Copenhagen, where he taught at the Polytechnic High School and also composed music for the cinema, television and the theatre.

Shihab joined the Clarke-Boland Big Band in 1961 and remained a regular member of the ensemble untii it broke up in April 1972. He returned to the United States for a three-year spell in 1973, basing himself in Los Angeles, then moved back to Europe for a further period. In 1986 he went back once ag ain to America. He died in Tennessee on October 24, 1989.

The small group dates here were recorded between 1964 and 1970 and showcase the delighyfully eccentric, unorthodox improvisational style of Shihab on baritone saxophone and flute.

Producer/drummer Teppo Mäkynen shares a new release with his celebrated alias The Stance Brothers. "On Top" is a solid gold Stance groover which appears on this We Jazz Records 7" vinyl single as two versions. On side A, the track is led by guitar and flute (the latter courtesy of Diamond T aka Timo Lassy) and the flip introduces a soul jazz scorcher with organ & vibes. Both cuts are ripe and ready to be enjoyed by DJs and home listeners alike.

"On Top" follows the remarkably successful Stance sides "Resolution Blue" and "Minor Minor", all part of the ongoing 7" series by the Helsinki-based We Jazz Records. The 7" comes with old school heat-pressed labels and a stylish generic brown sleeve.

After a well received and enjoyed first joint on this freshly founded co-founded music label joining Kalakuta Soul Records with the neighboring Bahlo Records Store, Kalakuta Soul Bahlo Records is more than happy to re-issue a Disco gem that has been enjoyed in several occasions in the past years but seldom was easy to find.
On a working trip to Italy the salesmen Mohmed Fersi, Lotfi Ferjani, Smir Almia, Mohsen Matri and Nejib Toukabri used their stopover in Italy for a recording session guided by the owner of Phono Sound Dischi Francesco Ammaturo and that resulted in the release of „Dance“ and „Can’t You See Me“ in 1980.
Almost 40 years later, KABA’s half Guy Dermosessian got invited by the mighty Najib Ben Belgacem for a memorable party he organized together with Tunis’ mighty „Downtown Vibes“ Family at Wax Bar followed by a live stream for downtown based and freshly found record label „Eddisco“. Why we’re telling you that? Well, odds are it
turned out that one of Downtown Vibes’ Baba and Eddisco’s Mama was the amazing selector and DJ Hamdi Toukabri, nephew of Nejib Toukabri, Corniche Band’s Keyboard maestro. And the rest is history as you can imagine.
We are more than pleased to have had the chance to re-issue this amazing record we hereby would like to dedicate to the shortly deceased Mohmed „Momo“ Fersi and his family. May his soul rest in peace. We would also like to thank Hamdi Toukabri and Nejib Toukabri for making this happen and possible as well as our brother Najib
Ben Belgacem for bringing us all together in the first place.
Corniche Band comes in its original Cover design and with the same tracklist.
Stay tuned for an exclusive and lovely Edit of „Dance“ by Downtown Vibes’ super amore Hamdi Ryder hitting the digital shelves upon release of this record.

The fourth 10-inch EP from the 10th anniversary of U Know Me Records series comes from Immortal Onion. The album consists of 5 pieces. For those missing live concerts there are 2 songs taken from the band's performance on 8th of August at Jassmine club in Warsaw. The B-side starts with a rework of the song called "Leaving", originally composed by Hania Rani (who often performs with 2 members of Immortal Onion). The next song ("Zu Hause") was created especially for this album as the result of the band's experiments with electronics. The EP closes with a rework of "Eye Tracking" - a song from "XD Experience Design - made by Kadrych.

The rework of "Leaving" will be released only on vinyl and won't be available on streaming services.

Strictly limited edition - 300 hand-numbered copies. The first hundred will be released on red vinyl and copies from 101 to 300 as classic black ones.

The album was created with help of trusted people, who also worked on "XD Experience Design" - graphic design by Martiszu, mix by Envee (except the last song mixed by Maciej Stendek) and mastering by Eprom.

The fourth 10-inch EP from the 10th anniversary of U Know Me Records series comes from Immortal Onion. The album consists of 5 pieces. For those missing live concerts there are 2 songs taken from the band's performance on 8th of August at Jassmine club in Warsaw. The B-side starts with a rework of the song called "Leaving", originally composed by Hania Rani (who often performs with 2 members of Immortal Onion). The next song ("Zu Hause") was created especially for this album as the result of the band's experiments with electronics. The EP closes with a rework of "Eye Tracking" - a song from "XD Experience Design - made by Kadrych.

The rework of "Leaving" will be released only on vinyl and won't be available on streaming services.

Strictly limited edition - 300 hand-numbered copies. The first hundred will be released on red vinyl and copies from 101 to 300 as classic black ones.

The album was created with help of trusted people, who also worked on "XD Experience Design" - graphic design by Martiszu, mix by Envee (except the last song mixed by Maciej Stendek) and mastering by Eprom.

Previously Unreleased Cinematic Jazz-Funk for Film & Television by Arranger/Composer J.J. Johnson

21 tracks featuring music from Across 110th Street, Top Of The Heap, The Fuzz Brothers, The Bold Ones.Funky Moog modulations, car chases, moody library cues and a righteous soul sister preaching universal truths all revealed in these recently discovered recordings.Masterful arranging and lush orchestration by one of the giants of the Jazz & Soul/Funk Genres.Cut direct to vinyl from the reference tapes.

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

In 2015, London fusionistas Lokkhi Terra put on a show at Womad and Songlines Encounters festival, where they collaborated withe folk legends from Bangladesh - The Shikor Bangladesh All Stars". The music was based on countless rooftop jams helb back in Dhaka, where Lokkhi Terra had been touring regularly from 2009.

The second in the series of collaborations, this EP takes the iistener back to the beginning, capturing the first musical meetings between both bands. The period when long term Lokkhi Terra collaborator and Dhol Maestro Nazrul Islam (based in Dhaka), introduced his musical inner circle to the visiting Lokkhi Terra musicians. Friendships were forged, and musical conversations were explored. One singer stood out in particular - Dewan Baby Akthar.

Featuring songs by the great Bangladeshi mystics Baul Lalon Shai and Baul Abdul Karim.

"from London's global melting pot Lokkhi Terra joined Bangladeshi musicinas of Shikor for an unlikely but successful fusion that matched Asian influences with Cuban Jazz" The Guardian

180g Vinyl

The album Nobody's Husband, Nobody's Dad is the first entirely solo work of UK-based percussionist Maurizio Ravalico, and it represents a nodal episode in his artistic development. The music on the album is entirely acoustic and live played, with no overdubs added to the initial takes. These have all been slightly edited to different degrees, mainly to fit them into the time limitations of vinyl; but other than that all tracks are faithful reproductions of single, acoustic, uninterrupted one-man performances.

Another distinctive musical trait of the album is a presistent denial of metric recurrence. Maurizio's solo music is focusing on sounds, often generated by unexpected combinations of conventional instruments and found objects, both played using a mix of orthodox and extended techniques, and often on top of a big drum, which augments dramatically their timbrical and tonal range. The finished pieces recall thus the aesthetics of both contemporary and improvised music, despite them being neither strictly composed nor at all improvised.

Companion to the album is A Momentary Convergence of Differently Paced Trajectories, a 12" EP containing remixes of one of Maurizio's album tracks, Fiium Shaarrk and Collocutor.

Saga: Ólafur Stephensen 01.02.1936 – 28.04.2016 Wife: Klara Stephensen Children: Ingibjörg “Día” Ambonguilat Stephensen, Stephan Stephensen, Magnús Stephensen & Ólafur Björn Stephensen

Ólafur was born in Reykjavik. His parents were Stephan Stephensen, a shopkeeper at Verðandi, and Ingibjörg Stephensen, a housewife.


Ólafur graduated from The Commercial College of Iceland on June 16, 1956 and then studied public relations as well as marketing and propaganda at Columbia University in New York where he graduated in 1962.

Ólafur was a pioneer in the advertising services in Iceland which with him turned away from being solely a profession of illustrators to a new era of marketing. Ólafur touched on many subjects through his career. Alongside his study Ólafur worked for NBC News and META educational TV. He reported for UN Radio and Voice of America as well as for AFRTS under the pen name of Sonny Greco. Ólafur was the managing director of The Icelandic Red Cross, a jazz pianist in Harlem, the spokesperson for the media center of the NATO ministerial summit in Reykjavík in 1968 and hosted a program on the Icelandic National Television. Ólafur was the first Scandinavian citizen to become a member of the Advertising Club of New York, the first president of the Reykjavik chapter of JC as well as the first vice-president of JC International, the host of a jazz program on Icelandic National Radio, a judge for the American Advertising Awards and an active Freemason in Iceland as well as Portugal. Ólafur was awarded a Badge of Honour by the Finnish Red Cross in 1967.

Ólafur founded both ÓSA advertising agency and later Gott Fólk and was the first elected president of the Icelandic Advertising Association. He wrote a large number of published newspaper and magazine articles on his trade of advertising and marketing and released a book on the subject, “New and Better”, in 1987. Ólafur Stephensen released three jazz albums with his jazz trio named Tríó Óla Steph, played music both in Iceland as well as internationally with various jazz combos and was a big fencing enthusiast.

Italian DJ, producer and musician Lorenzo Moressi makes his debut on South London imprint 22a alongside label boss Tenderlonious, with a 7” album sampler of Italian library inspired disco-funk.
In the 1970’s, Italian soundtrack and Library music went through it’s most experimental, prolific and dazzling period. Musician’s and composers such as Piero Umiliani, Alessandro Alessandroni and even Ennio Morricone were experimenting with idiosyncratic combinations of jazz, electronic, disco, funk and psych, regularly for TV, film scores and advertising.
Their output from this period was wonderfully joyful, atmospheric and ironic, with it’s treasures only now encountered by the most dedicated of diggers and enthusiasts. It was the mutual love of these 70’s soundtracks that brought Lorenzo and Tenderlonious together. After meeting at a festival in Italy back in 2017 they quickly bonded over Jay Richford and Gary Steven’s album “Feelings’, actually produced by Italian composer Stefano Torossi.
The idea was quickly conceived to put together a fresh take on that ‘70s Italian style, with contemporary analog sounding arrangements and experimental, joyful “tongue in cheek” sounds that could work on the dancefloor as well as at home. Cosmica Italiana & Nuda Sorgente are the first two tracks taken from Lorenzo Moressi and Tenderlonious’ album due for release in 2021 on 22a.

Auf Immigrance, dem neuen Studioalbum von Snarky Puppy, dreht sich alles um Bewegung. - Die Idee
hierfür war, dass alles fließend ist, alles immer in Bewegung ist und wir uns alle in einem konstanten
Zustand der Migration befinden', erklärt Michael League. - Natürlich ist der Titel des Albums nicht
ohne politische Untertöne."
Genau wie Culcha Vulcha ist Immigrance ein Studio-Projekt, das von den gleichen Musikern
eingespielt wurde. Und obwohl es die Musikalität und den dynamischen Geist teilt, ist es doch auch
roher und launischer als sein Vorgänger. Einige der Kompositionen setzen einen neuen Schwerpunkt
auf Vereinfachung der Songs und Vereinfachung der Wirkung.
Auf Immigrance praktizieren Snarky Puppy wieder das, was sie im Wesentlichen schon immer
gepredigt haben: Menschen aus verschiedenen Orten bringen ihre verschiedenen Stärken und
Erfahrungen mit, und lassen diese in ihrer Musik zusammenfließen. Die Band selbst ist eine
Darstellung dieses musikalischen Ausdrucks.