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On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

‘Hörtest-Edition IV - Visions of Jazz’ is a listening experience to be cherished. It offers a specially curated programme which can be compared across different media and in various formats. Enjoy an audiophile adventure in perfect sound quality: the 180gram LP, cut at half speed, has been subject to the most exacting demands during the pressing process, rendering the quality of a turntable audible. Compare the special features of vinyl with the strengths of a conventional audio CD, or alternatively feast your ears on the sound quality attainable in the hi-res world of 24-bit. For this listening experience, ACT has curated a selection from its current releases by renowned artists, all recorded and produced to the highest standards and with an uncompromising focus on sound quality.  Test… compare… but above all, enjoy the music. Under the motto ‘Visions of Jazz’, ‘Hörtest-Edition IV’ presents a multi-faceted kaleidoscope of current jazz.  This ‘Hörtest-Edition’ includes gatefold 180g LP, CD and 24Bit high resolution digital download files. Curated and compiled by Marco Ostrowski.

B.J. Ward is best known for her work as an actress in tv series and films. Besides her work with the band Inner Dialogue she recorded one solo album, named Vocal Ease. It is hailed as some sort of long lost holy grail for crate- diggers and now finally pressed on vinyl again. The work itself is an adult pop album that makes use of her singing voice, and is a masterpiece that unleashes the universal appeal of being jazzy and soft rocking. It is a masterpiece that makes you want to drop the needle over and over again.

The Apples

A Post-Funk Juggernaut Comprised of decks, horns, double bass, and drums, which mixes Middle Eastern influences to create a signature sound.
With the instinctive weaving of a dj set, there music stretches between the composed and the impromptu, keeping a strong point of reference for the beholder's ears, feet and soul.

Rather than rely on their usual full band, live performance, one-room live single recording session, the making of 'Dragonz' was a departure for The Apples.

A multi-studio project spanning three continents, they assembled new instrumental tracks based on loops created in the studio and presented them to a wide-ranging selection of vocal collaborators to complete the picture with, and applied this method to the capturing of longstanding live favourites as well.

The concept of a "vocal album" was implemented on non-vocalist songs as well, treating the omnipresent turntables' sample work not as the central element to the band, but rather its frontman.

Though containing disparate influences, guests and production methods, 'Dragonz' is undeniably Apples, might be their most focused LP to date, and it is certainly their most middle-eastern. Elements of the region's indigenous genres have always been present in the band's work, but never has their influence been
as pronounced.

Reissue of very rare (wild prices on Discogs!) French spiritual/political Avant-garde Jazz, think Brigitte Fontaine meets Alice Coltrane Via the Middle East.

"Cy Timmons, born in 1941, is “The World’s Greatest Unknown” singer-songwriter from Atlanta, Georgia.

His style may be called batida Americana: unusual bossa nova technique marked by the art of guitar percussion and turning his voice into a variety of instruments such as flute, trombone, synthesizer and more. But basically, it is difficult to specify the genre where his music belongs because it has been developed individually and heavily colored by his love of American music such as cool jazz, traditional pop, early R&B and many years of entertaining in various musical venues including Café Erewhon (“Nowhere” spelled backwards) which he ran in Atlanta. Rather than an imitation of bossa nova, Cy applied the bossa concept of expressing samba alone through classical guitar and vocals to expressing good old American popular music alone and so developed a new “traditional” American sound, a sound that was honed in part through an encounter with Judy Davis of Oakland, California, the stars’ vocal coach whose students included Frank Sinatra, Judy Garland, Mary Martin and Barbra Streisand.

He himself produced three albums of his music. On the first: “Cy Timmons” (1972) he was backed by a small orchestra, but the second, “The World’s Greatest Unknown” (1974), and the third “Heaven’s Gate” (1998), were Cy alone and show the true worth of his music that also has something in common with João Gilberto’s “White Album” and “Voz E Violão”."

Mastered and half-speed cut at Abbey Road, pressed at RTI, each release comes in a custom G-FLute cardboard mailer. 001 has a satin fabric heart sticker and 002 gold foil-stamped quotations from Cy. Both have extensive liner notes, including a full length interview.

Born Alice McLeod into a musical Detroit family, Alice Coltrane began playing piano at age seven and later studied with Bud Powell in Paris. Upon returning to the States, she joined vibraphonist Terry Gibbs’s group and eventually shared a bill with the John Coltrane Quartet. In 1965, the two wed in Juárez, Mexico, and played alongside one another until her husband’s last performance in May, 1967.

A Monastic Trio, created in the year following her husband’s passing, is Coltrane’s first recording as a band leader and features six original compositions. While John’s spirit can be felt throughout - from the song titles (“Ohnedaruth” was his adopted Hindu name) to the personnel (Jimmy Garrison, Rashied Ali, and Pharoah Sanders were frequent collaborators) - the album showcases Alice’s immense talent for fusing spiritual free jazz and new age with classical, Eastern, post-bop and gospel.

As the late Amiri Baraka writes, “‘I Want to See You’ is a monastic piano concerto. With echoes of Europe..., it has a solemnity and majesty to it.... Yes, monastic is the word. The piano broods in its earth imagination.”

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

COLOR VINYL LP

Indie Retail Exclusive *Cosmic Moment* Color Vinyl LP Multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he's written more than 400 compositions and is featured on more than 70 recordings (including International Anthem's very first, IARC0001, Alternate Moon Cycles). He's led many ensembles - including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), and a duo with Jeff Parker. He's been on the cover of WIRE Magazine twice and is well-known as one of the prime 21st century progenitors of "The Chicago Sound."

In 1975, Steve Potts left Steve Lacy for a time to compose Musique pour le film d’un ami following the proposition from the film’s director Joaquín Lledó. With guest musicians of quality and from vairied horizons (Ambrose Jackson, Jean-Jacques Avenel, Frank Abel, Elie Ferré, Christian Escoudé…), the saxophonise recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognised way beyond the boundaries of La Défense.

If you have never seen Sujet ou le secrétaire aux 1001 tiroirs, Steve Potts will allow you to listen to it. The film was made by a friend of his, Joaquin Noessi, a pseudonym of Joaquín Lledó, for which the saxophonist composed the music in the mid- seventies. It was recorded in Saint-Germain-des-Prés and Potts was joined by the musicians he played with regularly at the time with Steve Lacy (Jean-Jacques Avenel, Ambrose Jackson, Kenneth Tyler) but not just them...

Because, on Musique pour le film d’un ami, we can also hear funk musicians (pianist Frank Abel and percussionist Donny Donable, both also expatriates, who played in the group Ice), nimble French musicians (Elie Ferré and Christian Escoudé on guitars, Joss Basselli on accordion) and unclassifiable men-of-all-seasons (Keno Speller on percussion and Gus Nemeth on double bass). The production was assured by another Iconoclastic figure: Jef Gilson.

It was an eclectic team, and they made an eclectic album. As is shown by the track titles: Java, Tango, Street Blues, Rock (La Défense), Bhagavad-Gita... Paris, is Babylonia and Steve Potts just has to shake it all up and let the notes pour out: modal, (even cosmic, jazz) free funk, dirty grooves, cool jam sessions, bistro boogie, java wah-wah... On Street Blues, the actor’s voice advises us to: “Listen to the music, listen to the magic voice!” That voice belongs to Steve Potts, and thanks to Souffle Continu it sings out again today, as they rerelease the only record made under his name: Musique pour le film d’un ami, a shattering album of shattered atmospheres.

Musique from the film "Sujet ou Le secrétaire aux 1001 Tiroirs" by Joachim Noessi.

Steve Potts - Alto Saxophone, Soprano Saxophone.
Joss Basselli – Accordion.
Elie Ferré - Acoustic Guitar, Electric Guitar.
Keno Speller – Bongos.
Gus Nemeth, Jean-Jacques Avenel - Double Bass.
Donny Donable, Kenny Tyler – Drums.
Christian Escoudé - Electric Guitar.
Frank Abel – Piano.

Killer percussion, superb jazz, odd global sound, beautiful library music. Yes, an amazing compilation of Italian library music from the SR catalogue, but we couldn't say SR or Sermi on it as it's all now owned by Cometa and they wouldn't allow it. Anyway, about £1000+ worth of music here, and not a duff track within earshot. Legendary composers too - Alessandroni, Torossi, De Masi, Marinuzzi Jnr etc.

In 2014, Vels Trio entered the UK jazz-fusion echelons with breakout EP Yellow Ochre. Conjuring the spirit of old greats and modern innovators like Pat Metheny and Robert Glasper, the trio captured the underground audience whilst inaugurating themselves into the headsier jazz foray. With a feature from the mighty Shabaka Hutchings bolstering the EP to a broader audience, and astonishing live performances, the record led to sold out shows across Europe in 2018.

Since then the band have been busy on-hire for other prominent artists within international soulful jazz scenes, backing for the likes of Charlotte dos Santos and Poppy Ajudha. Their individual journeys involve drummer Dougal Taylor working with Emma-Jean Thackray and Neue Grafik Ensemble on critically acclaimed EPs,
bassist Cameron Dawson signing to Ubiquity with Mamas Gun, and keyboard virtuoso Jack Stephenson Oliver creating dancefloor magic with our very own SAUL and Nigerian composer Etuk Ubong.

Fast forward to 2020, with follow-up single ‘The Wad’ conquering the Spotify jazz playlists, the band have an album in the works for 2021, dropping on your doorstep via Rhythm Section INTL.

The reissue also includes a breakbeat ‘n’ cuica remix of Yellow Ochre Pt. 1 from the ever-reliable beatmaker extraordinaire Footshooter (Dance Regular, YAM Records), ready for living room dancefloors **insert dub siren here** on 180 gram audiophile vinyl.

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

'Dancing In Outer Space' is a certified jazz-funk classic from a legendary band! 12" vinyl, cut loud at 45rpm.

It sits at the pinnacle of the underground UK dance scene that went on to have a global influence. Stateside, the track had big support in clubs such as the mythic 'Paradise Garage' and 'The Loft' by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.

Sanremo Jazz Festival, March '66: Franco D'Andrea's piano trio with Giorgio Azzolini and Franco Tonani are playing. An excellent trio that in this record is joined by Eraldo Volontè and Dino Piana. One of the greatest examples of what we could call "Italian Jazz", if there's ever been such thing.

Volontè is a musician of merit, that deeply "feels" jazz and has a style of his own. His "suonar moderno" (modern play) has never been forced, and he is no longer the musician that must be à la page "at any cost", because sooner or later it would come out in the open.

A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

(180 gram pressing) Kosmo Sound from Ghent presents its long-awaited debut album 'Antenna'. The instrumental sextet is inspired by the typical dub sound where their background in jazz is never far away. They mix heavy bass lines and tight drums with spacy melodies into an organic trip that sets every venue on fire. They have already performed twice as the support act for Dub legend Adrian Sherwood and became winners of Sound Track 2019.

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

Grammy award winner & multi grammy nominated Luisito Quintero grew up with the Latin American and African tradition of percussion. His father is just as much a percussionist as his uncle Carlos Nene Quintero and his cousin Roberto Quintero . He became a member of the Orquesta Simfonica de Venezuela , but soon appeared with ensembles such as Grupo Guaco and El Trabuco Venezolano and toured with Oscar D'León .

He then moved to New York, where he initially worked with Latin jazz musicians such as Willie Colón , Eddie Palmieri , Tito Puente and Celia Cruz . He then turned to the fusion of jazz, funk, salsa and African music and performed with George Benson , Herbie Hancock , Ravi Coltrane and Toshiko Akiyoshi , but also with pop musicians such as Gloria Estefan and Marc Anthony.

His First album “Percussion Maddness” was produced by Louie Vega & LQ and was released on BBE Records. Now 8 years later, re-released on Vega Records with 4 new tracks also produced by Louie Vega will be released on a double pack vinyl in two parts, one a double pack 12” and the second a double pack 7” vinyl. Enjoy the Brazilian, Jazz, African, House, & Afro-cubano sounds of Grand Percussionist Luisito Quintero on this very special vinyl release.

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

12 Sweet jazzy tracks to chill out to.

The most beautiful songs from the rock legend Jimi Hendrix reinterpreted by the jazz scene. A selection of the most beautiful covers from “Purple Haze” to “Little Wing” or “Voodoo Child” with Terez Montcalm, Francis Lockwood Trio, Youn Sun Nah, or the famous song “Hey Joe” covered by Lee Moses…

Tracklisting made by Lionel Eskenazi, a music journalist and a jazz music specialist from jazz magazine.

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready.

As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity.

Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day.

Volume 4, the second LP opens with a gorgeous and lush Wurlitzer-oriented big band piece that among its many treasures also features the 17-year-old visionary-saxophonist-to-be, Steve Coleman in his alleged first recording! The contributions of Brother Yusuf Salim and Bus Brown, figures who should be very familiar to Tramp Records aficionados, are consecrated here with a live recording of Freedom from one of Brother Yu's last public performances. One of the two European contributions to the comp, Attitude, by Organic Pulse 'onesemble', reads like a double entendre, the word "attitude" meaning simultaneously one's disposition or state of mind, and also one's orientation relative to the horizon. The Peace Chant series continues to touch all the sacred meridians: more devotional music with James Scales & All Stars' Ser-Vi-Tude, trance music of non-dominant traditions with Donn Preston Group's Ghana-Cha!, a modal and blue organ trio offering from Tommy Jones, and closing with a rich and righteous ballad, Quernemoen, from the Wayne Powell Octet.

Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul.

We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain.

Hailing from Brussels, Bandler Ching is a creation of musical ideas from composer and saxophonist Ambroos De Schepper. Flawlessly blending contemporary jazz, electronics, hip-hop, noise and global beats, the sound is based around the freedom of expression and improvisation and performed with dazzling conviction.

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

Lamunai Records is proud to announce Philosophy Gang, the 1st opus of the Indonesian master Harry Roesli, a sought-after Indonesian album, musically at the crossroads of psychedelic, soul and jazz, lightly tinted with exotic Indonesian sounds. Expect funky brutal drums, mad organ solos, fuzz guitar brillIiantly mixed to softer sounds. Another gem finally reissued!
Political activist, a prominent member of the Tradisi Baru Movement (New Tradition) who emerged in the 1970s, Harry Roesli worked with musicians, poets, playwrights who were commited to experimenting with Indonesian traditional culture.

“Joe McPhee is a legend of modern music, which from the release of the classic "Nation Time" album almost 50 years ago has had an incredibly diverse career that's spanned a wide range of expressions, from jazz and improvised music to experimental and electronic free music. McPhee's life in music could basically be read as a map of leftfield music of our time, but after all these years he refuses to stand still or lock back with any sense of nostalgia.

After 30 years of making electronic music Lasse Marhaug is now synonymous with Norwegian noise music, with hundreds of releases and countless collaborations and projects to his name, including music for film, theatre and dance. In the last ten years he has also made a name as a producer for other artists, including Jenny Hval and Okkyung Lee.

McPhee and Marhaug has known each other since the early 2000s, but only in 2015 did they find time to record together as a duo. The result is "Harmonia Macrocosmica", an album that the two considers a science fiction inspired work. For McPhee it can be read in the linage of his 70s work with John Snyder, as well as collaborations with Pauline Oliveros and the Nihilist Spams Band. Marhaug of course is well versed in this field, but McPhee's sax and voice puts his electronics in a whole new perspective. The pair also found inspiration in early electronic music and vintage science fiction films, with McPhee describing going to the cinema in the 50s as a kid to see "Forbidden Planet" and being blown away by its electronic score as the start of a lifelong love of cosmic music.”

Form is Vision is a collection of music unified by the same vision but not by the same form. It’s the vision making the form, without being influenced by the form itself. Here, visionary electronic artists as Afrikan Sciences and Juju & Jordash meet cross over jazz bands like Hobby Horse and Where is Mr. R?!. The music was compiled by Autre & Two Thou, whose productions here form a bridge across different moods. The result is a synergistic leap away from genre-bound music.

Relentless Apparel Wax never misses a beat and is back at it with APLWAX003, the 3rd chapter of the saga. The release is made up of 3 tracks, 3 distinct parts of the same engine, 3 proper dance floor bangers. The EP kicks off with a compelling broken-jazzy beat, with its groovy breakdown and reprises and its funky vocals it's that one track you'll need to shazam on the spot. The 2nd tune will have you right away when you'll hear those tribal rhythmics and hypnotic vocals that drive it till the end while the 3rd is the typical one you'd call a "peak time track"; that tune you drop when the ballroom has warmed up enough and is ready to finally step u

Dilla, Pete rock , Primo samples jazz funk breaks.
Galaxy samples Breaks

Dynamite cuts has another Roy ayers 7” releases, this time, a collaboration with Wayne Henderson. Both of these tracks have never been on 7” before. A side is a laid back groove with hip-hop feel.
The B-side “For Real” a little known cover version of the Flowers Anthem, which sell for £2k+. So that Make this release a gem of a find.

HUGE STUDIO ONE 12” SINGLE!

Two fantastic tracks from one of Jamaica's finest ever vocal groups, these heavy hitting anthems were recorded for the legendary Studio One label in the early 70's. Surprisingly both tracks have never been released as singles, previously only appearing on two different
rare and long deleted Jamaican LPs. Cut super loud on a 12" single and housed in a heavyweight card Studio One sleeve, these won't be around for long – very limited edition 1000 copies worldwide!

Josey Rebelle is the deserving recipient of many accolades and awards, though heraccomplishments are, as with all great artists, unquantifiable. Just as herstyle doesn’t fit neatly into a few-word package, Josey In Space combines classic and current sensibilities with a selection of exclusive and elusivemusic to elevate this mix beyond the ephemeral to the eternal.

Drawing from a kaleidoscope of deeply felt and understood sounds, Josey studies and collocates history as well as directing it's course.

With her sets on the air & in the club, Josey urges you to listen close to the story, to feel the energetic shifts in style, sound, speed, mix; up, down, rough and smooth.

Josey’s sets are motivated by the ineffable and inevitable dance, mess and sweat oflife: “eclectic,” an oft-applied catchall, just scrapes the surface of this scope and vividness.

The reciprocal relationship between radio and club DJing are integral to Josey’s practice. Joining Rinse FM in 2011 with a covert 3-5 am Thursday slot, her now venerated weekly Sunday show delivers a universe in two hours, filled with selections from across the spectrum - house and techno, breaks, jazz, soul and analogous electronic music, to start- and carries the voices of emerging artists & their communities.

Evincing a lifelong commitment to ravenous, compulsory listening, and encouraging this in others, Josey furthers a localized lineage
tracing back to the golden era of Londonpirate radio.

Plenty of lore is out there about Josey’s journey as a club DJ with a glinting reputation the world over. Her style is broadly and essentially UK (especially from a US vantage), in content and mixing. But she doesn’t simply follow a school; her methods are always responsive to the track at hand. Josey lets “the tunes speak – or shout, or whisper – for themselves giving them space to breathe.” Within this framework she allows tracks with both complementary and dissonant elements to meet, run over each other, break apart, or just brush each other by.

Josey in Space reflects this finesse and versatility across twenty selections, a number of which will see their digital debut inside and outside of Josey’s mix as standalone cuts. DJ Marcelle’s outre dub clatter bookends the plot, featuring up-and-comers of club sound like rRoxymore, AFRODEUTSCHE and Molinaro alongside consistent innovators like Titonton Duvante, Nubian Mindz, Hieroglyphic Being, Uschi Classen and Robert Owens.

Tenesha The Wordsmith’s afro-futurist visioning and poetic eulogy “I Dream So Loud” invokes a healing mantra at the outset, and emphasizes an imaginative resilience embedded in the unequivocally black history of dance music. Moving knowledgeably through this unfolding history, Josey in Space celebrates US house- and techno history along with UK soulful bass, breaks and beyond as in Loraine James’ “Glitch Bitch,” or the second-to-last tenderly offered “Praises” from Lex Amor.

On the 12” Version, fouressential tracks are lifted from the mix for DJready use: Fotomachine’s spectral techno transporter “BBoy”; the warm, broken-beat sashay of Shy One’s “Route II Romeos”; Access 58’s 1999 instigator “Jazz Drama”; and the uplifting jungle tune “Dance Of The Sarooes (Nookie Remix)” from Rogue Unit.

Available as a track-focused 12”, mixed CD & mixed, - unmixed digital version, Josey in Space is the second outing in a new "Beats in Space" series celebrating dancemusic’s form & informality- and the selectors guiding it's evolution.