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Collocutor enter a new decade with the timeless, introspective Continuation. Continuation is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn AKA Tamar Collocutor is channelled and explored by Collocutor.
The band's third LP assuredly strides forward following the critical acclaim awarded to 'The Search' from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. Continuation is an album about coping with grief and loss/bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep 'normal' life going, the need to sometimes put a pause button on the world/existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.
Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for Continuation. The modified line-up creates space for the musicians to express themselves through the shadows of Continuation's movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks Lost & Found and in particular the album's title track, Continuation (the only piece with 3 horns) hark back to the intricate arrangements of 'The Search'. It's a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling.
In listening truly 'Continuation' bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.

The ultimate modern marriage between pure traditional jazz, orchestral arrangements, and the mathematics of electronic music, Belgian instrumental duo Glass Museum are set to release their sophomore album 'Reykjavik' on the 27th March via Sdban Ultra.

Since 2016, Glass Museum's raw, sunny energy has been uniting the surgical precision of the best contemporary jazz, a la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points.

Consisting of Brussels musicians Antoine Flipo (synths) and Martin Gregoire (drums), Glass Museum have risen through the ranks and they released their aptly named debut album 'Deux' in 2018.

Having initially won the opportunity to perform at the Dour Festival, Tournai back in 2016, Glass Museum have picked up a series of awards and distinctions back home in their homeland and they now find themselves dining at the top table of Europe's contemporary music scene.

The international music scene opened itself to the band in 2019, with the duo performing at Elb Jazz 2019 in Hamburg, the legendary Ancienne Belgique in Brussels and the Iceland Airwaves Festival, Reykjavik before finally heading back to the studio enriched and enlightened.

The resulting eight tracks that make up 'Reykjavik' prevail at the intersection of classical music, electronics and jazz, a chiaroscuro whose highlights are defined by their energy and vibrant colour. For Gregoire, this record was a matter of "returning to the roots of a more effusive music," melancholy but intensely alive - beating, even. Cinematic, too.

Opening with the grandiose album title track 'Reykjavik', this virtuoso pairing's sound effortlessly combines piano with drums, jazz with electronica, and delicacy with dynamism, while new single 'Abyss', floats along on wave of melancholy and optimism, where rhythm and melody collide to provide a cinematic experience.

Across their second album, Gregoire and Flipo have created their own musical universe to create an authentic musical identity. "We have a much more mature relationship with music than we did before," confides Flipo. "We're not trying to prove something through technique anymore - we want to bring sounds to life."

But the foundational element of Glass Museum's music is still the duality of the two musicians. "Antoine has this epic side in everything he does, including composition," considers Gregoire. "He's also got the skill to translate a more classical tradition in a contemporary way." On the other hand, Martin "has the ability to adapt to anything," Flipo says. "There's a lot more percussion on this album, because we have a very open dialogue between us that allows him to take over any kind of sound."

Emergency Ward! (1972) is Nina Simone’s statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day. The entire first side consists of a 18-minute medley of George Harrison’s “My Sweet Lord” and a poem by David Nelson called “Today Is a Killer,” set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols’ “Cool Jerk” with a call-and-response vocal arrangement - one of Simone’s finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York. Side two consists of the Lennie Bleecherâ’s Jeremy Wind song “Poppies” and George Harrison’s “Isn’t It A Pity”. Tracks 1 and 3 were recorded november 18, 1971 at Fort Dix, and track 2 is recorded at the RCA Studio in New York City.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• 1972 ALBUM FEATURING “MY SWEET LORD / TODAY IS A KILLER” MEDLEY
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Reissue of the first The Mount Fuji Doomjazz Corporation record from 2007. The Mount Fuji Doomjazz Corporation is the much-noticed free-form, drone metal / jazz alter-ego of The Kilimanjaro Darkjazz Ensemble, the band formed by Jason Kohnen and Gideon Kiers.

Starting with free-form soundtracks to silent films such as Murnau's “Nosferatu” and Lang's “Metropolis”, The Kilimanjaro Darkjazz Ensemble gave birth in 2006 to its first eponymous album. The downbeat ambient jazz of this first release was however only one avatar of this coterie, as demonstrated by the birth of The Mount Fuji Doomjazz Corporation. The semi-improvised, dark, heavy, “sludgy” counterpart to the Kilimanjaro Darkjazz Ensemble, the Corporation leaves all borders behind, focusing this time on mesmerizing, doom-ridden drones and melodies, combined with the jazzy grooves and melodies of the cello and saxophones. Recording live in Amsterdam in February 2007, “Doomjazz Future Corpses!” is a self-described “soundscape of barren wastelands, droning into memories of future's past”. If the The Kilimanjaro Darkjazz Ensemble debut was paying homage to The Quay Brothers, this album awakens the third, twisted, twin. A snapshot of the band's free-form sessions, in which there is no solid structure or time frame but a focus on cataclysmic improvisation and feeling, this album stands as a captivating dirge of raw guitar drones, saxophone and trombones emancipated from their classic jazz boundaries and abysmal bass throbs. An highly disorientating yet convincing journey through the deep realms of murky drone jazz / metal, heavy, suffocating and unfettered.

“Andy Bey is one of those few jazz vocalists who are so singularly personal and distinctive in style that they communicate the material they choose more in the manner of an instrumentalist than a vocalist. On these recordings from 1995, his first after 1974’s “Experience And Judgment”, he sings and accompanies himself on piano on a series of standards, including four by Duke Ellington (including “I Let A Song Go Our Of My Heart” and “In A Sentimental Mood”), two by George & Ira Gershwin (“Someone To Watch Over Me” and “Embraceable You”), Cole Porter’s “You’d Be So Nice To Come Home To”, Jerome Kern’s “Yesterdays”, and others by Ann Ronnell and Tadd Dameron. The setting is intimate and showcases his broad range from baritone to falsetto and his angular and often sparse piano accompaniment. This is the first time these recordings have been issued on vinyl.”

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

"Erroll Garner" was a phenomenon. Entirely self-taught, he couldn't read music and was only three years old when he first immersed himself in the world of the piano. No matter whether you saw him or heard him at one with the piano, the only word to describe it was osmosis. What on earth could this phenomenon be ?

He could play as if totally absorbed, or else appear to be quite absent, all the time wearing an innocent smile that made you think he was from another world. By turns inhabited — by an irresistible swing or by some tune so sweet it seemed drawn from the depths of unfathomable feelings — he would murmur melodies to himself and always display the greatest happiness to be playing.

'Garner was the composer of Misty (1954), and his album Concert by the Sea (1955) was an enormous bestseller. He is still one of the most popular jazz pianists ever, with an audience way beyond the closed circle of jazz.

Following closely on the heels of his ravishing solo album Tomorrow is Too Late, Stockholm-based synthesist and improviser John Chantler switches gears to unleash the stunning second album by his trio with saxophonist Seymour Wright and drummer Steve Noble, Atlantis. Chantler is well-known for his solo electronic work, which frequently explodes richly layered ambient soundscapes into visceral explosions and thrilling physicality, to say nothing of his imaginative experimentation with the organ, heard in radically transformed mode on the recent solo recording. But Chantler is equally invested in real-time improvisation and he’s developed a dazzling rapport and sound world with Wright and Noble, two of England’s most distinctive, active, and turbulent figures in spontaneous music over the last couple of decades. The pair has worked together in numerous contexts over the years, but it took Chantler to create an ongoing context for them, and since forming in 2017 the trio’s rigour and level of communication have steadily expanded.

“My fantasy idea in the beginning when I wanted to do this trio was thinking about taking Derek Bailey’s role in the Topography of the Lungs trio,” he says, referring to the classic 1970 album with Evan Parker and Han Bennink. “That’s not what happened, but that was my way of imagining how I could make the synthesizer have the kind of range and ability to both comment on stuff and guide and push in certain ways, like Derek did in that group. That remains a kind of ambition even if aesthetically it doesn’t feel very close to that, but that’s how I first thought about what my role would be.” Indeed, Chantler serves as a pesky interrogator, his serrated tones and viscous globules cutting through the kinetic din dished out by Wright and Noble, and on the new album his integration is more fully realised to the point where it’s often impossible to decipher where the output of one musician ends—the sibilant bowed cymbals of Noble or the feedback-laced lines of Wright—and the pushback of another begins.

The album was cut and mixed in a single day with in-house engineer Janne Hansson at Stockholm’s legendary Atlantis Studio, a facility made famous by the chart-topping albums recorded there by Abba in the 1970s, when the place was known as Metronome. Prior to entering the studio the trio spent an exhausting, all-in week rehearsing at the arts space Fylkingen—where they also played a show—in addition to playing a handful of gigs in Norway. Locked in, they discovered much different acoustic qualities at Atlantis from what they’d previously encountered. “There’s a very specific sound at the studio, and we’d been playing for a week together at Fylkingen, so we started to develop a thing that really works in that room, and then you move somewhere else, and the drums in particular sounded really different, and in some ways they had a bit more of a rock ‘n’ roll kind of feeling.” explains Chantler. Responding to that radically different, reverb-soaked ambience, he and Wright took advantage of a pair of matching Fender tube amps, charging their individual signals to match the booming, resonant sprawl of Noble’s pinpoint clatter.

Compared to the group’s debut album Front and Above—a live recording of the trio’s very first performance at London’s Café Oto—which Chantler edited to emphasise the sparser expanses of the raucous, performance, the new album reveals a more open-ended spectrum, from delicate to crushing. Noble’s beautifully metallic rustling and throbbing snare bombs hang pregnantly in the air, and Chantler and Wright thicken the atmosphere with twinned abstractions, alternately ethereal and punishing. The transitions between calm and chaos are sometimes seamless, sometimes abrupt, but the full landscape transports the listener to another realm regardless of how ferocious or gentle the attack may be. As strong as the trio’s first album was, Atlantis marks a massive step forward. “The more you play together the more it starts to cohere into some kind of specific language,” says Chantler. “You start to understand the point of what a particular constellation might be.” With Atlantis there’s little doubt these three improvisers know exactly what the point of it all is, which thrillingly means that many new paths in the future have opened up.

Super obscure and massively groovy Japanese jazz from 1971. One for all the London and Tokyo jazz massives. A total cult in demand tune from an album that if available goes out for a wallet busting £500. First time on 45. TBR in early 2020.

On the "B" side originally released in 1975 this spellbinding tune
by the cult maestro Baldan Bembo is a jewel from the Italian film L'AMICA DI MIA MADRE. Groovy Samba beats and bouncing Jazz percussion.

Superposition is a new explosive group from Helsinki. Led by drummer Olavi Louhivuori, the quartet features Linda Fredriksson and Adele Sauros on saxes and Mikael Saastamoinen on bass. Louhivuori is known from his solo projects, his band Oddarrang, plus his inspired work with the likes of Tomasz Stanko.

Fredriksson is best known from Mopo and Saastamoinen OK:KO. Sauros ranks among the most noteworthy new rising stars in the Finnish scene. The band's debut album is released by Helsinki's We Jazz Records on March 27.

On their debut alsbum including 8 original compositions (6 by Louhivuori and one each by Fredriksson and Saastamoinen), Superposition present a powerful statement rich in musical ideas and solid in their execution. Beginning with the fire music of the album opener and first single "Antiplace", the group move into pastoral soundscpaes, such as the ending track "March".

This is music for repeated listening, deep and darkly-toned yet bursting with the intensity of the new group. All throughout the album's different moods, Superposition sound remarkably together here.

"Superposition" is released by We Jazz Records on vinyl
(black and orange editions), CD and digitally.

Superposition is a new explosive group from Helsinki. Led by drummer Olavi Louhivuori, the quartet features Linda Fredriksson and Adele Sauros on saxes and Mikael Saastamoinen on bass. Louhivuori is known from his solo projects, his band Oddarrang, plus his inspired work with the likes of Tomasz Stanko.

Fredriksson is best known from Mopo and Saastamoinen OK:KO. Sauros ranks among the most noteworthy new rising stars in the Finnish scene. The band's debut album is released by Helsinki's We Jazz Records on March 27.

On their debut alsbum including 8 original compositions (6 by Louhivuori and one each by Fredriksson and Saastamoinen), Superposition present a powerful statement rich in musical ideas and solid in their execution. Beginning with the fire music of the album opener and first single "Antiplace", the group move into pastoral soundscpaes, such as the ending track "March".

This is music for repeated listening, deep and darkly-toned yet bursting with the intensity of the new group. All throughout the album's different moods, Superposition sound remarkably together here.

"Superposition" is released by We Jazz Records on vinyl
(black and orange editions), CD and digitally.

Featuring a wide range of artists (Das Ding, Plus Instruments, De Fabriek for a start!) from the Amsterdam Fetisj scene and cities such as Rotterdam, Utrecht, The Hague, and Zwolle. It gives "a glimpse into the artistic DIY music movement that was growing extensively outside of mainstream circles."
. " The beautifully printed record sleeve was designed by Steele Bonus. It includes liner notes (in English and Dutch) that paint a great picture of the context where these bands and artists lived and breathed. It is compiled by Mark van de Maat and mastered by Rude 66."

"In 2015, it remains a rare and enchanting thing to hear a piece of convergence culture this effortless; which, after all (...) may be one reason Utakata still sounds so otherworldly." by Pitchfork 8.5 -
"best new reissue" - 25 September 2015.

The 1983 cult classic 'Mariah - Utakata No Hibi' sees it's re-release
for the first time. The long sought after final record on the legendary Better Days label, Utakata No Hibi is the culmination of composer and bandleader Yasuaki Shimizu's early 80's work, often compared to his contemporaries Ryuichi Sakamoto and Haruomi Hosono, as well as experimental new wavers Flying Lizards/David Cunningham, all of whom Shimizu has worked with.

Recognized in Japan for the hit, 'Shinzo No Tobira,' the entire record is a masterful studio production of Japanese folk and pop idioms filtered through a chamber disco, new wave, synth production, sounding more relevant today than upon it's release over 30 years ago.

The packaging features additional artwork from Ira Okudaira, who created the original stunning jacket drawings. It retains the original double 12" 45 rpm play format, and includes a full English translation of the Japanese and Armenian lyrics on the printed inner sleeves.

RIYL: Blood Orange, YMO, Arthur Russell, Julee Cruise.
'PFRLP003' Repressed & Reissued; Limited numbers.

Soul Jazz Records' new album Rastafari: The Dreads Enter Babylon 1955-83 charts the many links between reggae music and the Rastafarian faith.

Featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Ras Michael and The Sons of Negus, Bongo Herman, Roy Ashanti (Congos), Earth & Stone, Mutabaruka and many more, this is an in-depth look at some of the most unique and righteous music ever made and comes complete with a 40+ page outsize booklet, containing exclusive photography and extensive historical and contextual sleevenotes.

At the source of the music of Rastafari is the figurehead master drummer and leader Count Ossie, who first brought the deeply spiritual nyabinghi and burro rhythms, heard and played at sacred Rastafarian grounation (reasoning) sessions, into popular Jamaican music through his many collaborations and performances with artists - from The Skatalites to The Folks Brothers - and producers, including Clement Dodd, Prince Buster and Harry Mudie.

At the start of the 1970s Count Ossie formed the Mystic Revelation of Rastafari with saxophonist Cedric Brooks, which immediately became the most significant group of the Rastafari faith, bringing together authentic rastanyabinghi drumming together with spiritual and avant-garde jazz influences of Sun Ra, Pharoah Sanders and Albert Ayler into a truly unique and groundbreaking sound.

From the earliest proto-rasta beginnings on vinyl, Lord Lebby's 1955 mento recording 'Etheopia', through to the raw, afro-jazz roots sounds of Count Ossie to the deep and heavy roots reggae of the 1970s (Johnny Clarke, Earth & Sound, Roy Ashanti of the Congos and others), this album covers nearly 30 years of revolutionary music.

This album comes in two separate formats: Deluxe CD with slipcase and 40-page outsize booklet, and deluxe limited-edition heavyweight gatefold-vinyl edition + free download code (with full sleeve notes etc.).

Classic creative bop melodies and golden era beat memories woven into a vibrant new thread of psychedelic soul jazz. The New Breed received “Best of 2016” honors from NPR Music, Observer, New York Times, Los Angeles Times, Aquarium Drunkard, and Bandcamp.

Soul Jazz Records' new release Black Fire! New Spirits! is a deluxe double CD (and limited triple LP) exploring deep, radical and spiritual jazz in the USA in the period 1957-1975.

In the 1960's and into the 1970's jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening.

For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others.

This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others.

This album coincides with the recent 'Black Fire! New Spirits! Images of A Revolution: Radical Jazz in the USA 1960-75' book, published by Soul Jazz Books, which as well as including pioneering artists such as John Coltrane, Miles Davis, Roland Kirk and Alice Coltrane also features many of the artists included in this album. It comes as CD with slipcase, super-loud, SUPER-HEAVY TRIPLE VINYL with free download code and as a digital download.

Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music ever to be released outside of Nigeria. The album focusses on a wide selection of recordings made in Nigeria in the 1960's, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful
musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and
techniques of the Yoruba of Nigeria.

The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in
Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.

Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural
rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960. Apala music was popular and widely accepted in Nigeria due to its philosophical and profound
lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.

He's one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also
included on this collection contextualising the music of Apala.

These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labels in Nigeria and have never been released outside of the country before. Soul Jazz Records are releasing this album as a deluxe double gatefold vinyl (download code), CD, slipcase and booklet, both containing full text and photography.

Kêtu Records proudly presents, after two years looking for the artists in Nigeria, the reissue of this album from The Faces!!Originally released in 1975, Wake Up Today, differs from the Afro-Funk productions of that time by its Afro-Rock/Afro-Funk Garage style.

We let you discover this UFO and thank you for your support to the label.

Revive the legend Faces,
Vibrate the dancefloor,
!! Wake up today !!

Sunwatchers are a New York-based ensemble (featuring current & former members of NYMPH, Dark Meat, Chris Forsyth's Solar Motel Band & Arthur Doyle's New Quiet Screamers) that blur the lines between avant-jazz, punk, psychedelia, Ethio-jazz and desert blues, creating joyous, chaotic, mystical elegies to modern sound. Their eponymous 2016 album was released on Castle Face Records in 2016, followed by their Trouble In Mind debut, "II" in 2018, and their third album "Illegal Moves" in 2019. Despite (perhaps) being the band's most accessible & melodic work to date, New York quartet Sunwatchers` fourth album arrives in a flurry of notes with the buzzing hum of Sunwatchers vs. Tooth Decay"; the title referencing a 1976 album featuring athlete and activist Muhammad Ali. A cheeky nod to be sure, but laced with the utmost reverence. This attitude sums up Sunwatchers' aesthetic in a nutshell; the acknowledgement (typically via the band's irreverent song titles or album art) that the things in life we should take seriously are better faced and understood when disarmed by a wink or nudge. The band may cloak their fiery activism in a jester 's outfit, but it does nothing to dull the force of their attack. The one-two punch of "Love Paste" & "Brown Ice" hits next, with the former 's tender opening melody punctuated by exuberant "WOO!"s while the latter launches into an urgent, stuttering march that utilizes an effective musical wind-up and release, ratcheting up a ferocious intensity across its near six minute runtime. "Thee Worm Store" closes out the first side, beginning with a lumbering synth growl, until it picks up speed and ends as a frantic noisy free-for-all. Side two strides forth with "The Conch", an obvious `Lord of The Flies' reference, and a delicious subversion of the idea of a "hero's anthem" weighted down by the trappings of tribalism. The album's showstopper however is "The Earthsized Thumb", the near twenty-minute closing track. Guitarist Jim McHugh lays down a hypnotic Saharan guitar melody as the rest of the band ushers themselves in one by one over the tune's distinct musical movements, a cosmic "Quick One" for all the heads perhaps? The album's title "Oh Yeah?" is at once an homage to Mingus, Thee Oh Sees' album "Help" (whose Brigid Dawson hand-sewed the tapestry adorning the album's front cover), and (naturally) the rallying cry of oolBrave himself - the Kool-Aid Man-as-Braveheart avatar the band adopted as their symbol.

Exhilarating, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983: Jamie Muir, Evan Parker, Hugh Davies, Joëlle Léandre, John Corbett, Peter Brötzmann, Vinko Globokar, Ernst Reijseger and J.D. Parran.
What’s remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of ‘company’ as ‘the fact or condition of being with another or others, especially in a way that provides friendship and enjoyment.’

It starts with Landslide, a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics) and Jamie Muir (percussion). Next up, Seconde Choix, with Joëlle Léandre’s close-miked prepared bass and Bailey’s acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes.

The opening of First Choice, a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir’s metallic percussion.

On Pile Ou Face (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker’s soprano until Léandre’s deft, springy pizzicato lures them into the playground. JD In Paradise is a surprisingly delicate wind quartet, with John Corbett’s trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brötzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background.

Igor Stravinsky’s definition of music as the ‘jeu de notes’ comes to mind listening to Bailey’s duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless – it is, as its title Een Plezierig Stukje simply states, a fun piece.

On the closing La Horda, Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes and colours.

It's a Turkish Jazz-Funk Delight...!

Some hard-hitting rhythm section blending into a prime example of the swingin' sound of the cool influences of Jazz, Funk and Folk music, with a Turkish flavor. It's fantastic funk jazz groove built on a titanium synth bassline!

An instrumental library of traditional Turkish Jazz session reaching a great climax in drums and percussion sets + electro-bass break with moog and synthesizers from the beginning to the end.

Traditional Turkish songs are based on drums and synth bass over moody 5/8 fuzz guitars...

Album recorded & released in Denmark, 1979, and it has never been released in Turkey.

Side A: Band' Azul - Melo Do Fricote
Licensed From Top Tape Musica Ltda ©1982

Side B: Octavio Burnier - Que Nem Sol
Licensed From Top Tape Musica Ltda ©1980

Club Internacional unearth more long lost Brasilian grooves from the archives of Rio imprint Top Tape for lovers and collectors around the globe.

This edition kicks off with the funk-driven sounds of Melo Do Fricote by Band' Azul.
Fusing rapturous vocals, guitar and horns this track originally appeared in 1982 and was the band's only 45 single release.
Here it is in its original format at last.

The flip side features the much more established artist and celebrated guitarist Octavio Burnier. As one half of Burnier & Cartier he produced one of the most sought after LPs in Brasilian music in 1974, which became like gold dust to collectors of Brasilian music. It was recently reissued by the excellent Mr Bongo to the relief of all lovers of Brasilian sounds.

In this later solo track 'Que Nem Sol', Burnier demonstrates his exquisite guitar playing as well as his talents as a composer and singer.
A seriously delicious slice of soft boogie funk it was released only on 45 single on the Top Tape label back in 1980, and again has never been repressed.

Club Internacional hopes you enjoy bringing these long lost, blissful funk vibes back to life via this limited edition vinyl 45 pressing.

Idris Muhammad was an American jazz drummer who recorded extensively with many musicians, including Bob James, Pharoah Sanders, John Scofield, George Benson, Lonnie Smith and Tete Montoliu. Power of Soul is his best known album and is one of the reasons that Idris Muhammad is regarded as the drumming king of groove.

Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 album is a burning piece of deep, jazzy soul and grooved-out bliss.

The album includes the tune “Loran’s Dance”, which received considerable airplay on jazz radio stations and was sampled by Beastie Boys (“To All The Girls” and “B-Boy Bouillabaisse”) and Fatboy Slim (“The Weekend Starts Here”). “Power Of Soul” was sampled by Notorious BIG (“Ready To Die”) and The Game featuring Anderson.Paak (“80s and Cocaine”).

• 180 GRAM AUDIOPHILE VINYL
• REMASTERED AUDIO
• ARRANGED AND CONDUCTED BY BOB JAMES
• FEATURING GROVER WASHINGTON, JR., BOB
JAMES, RALPH MACDONALD AND MANY MORE
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON TRANSLUCENT YELLOW COLOURED VINYL

Power Of Soul is the third record as a bandleader by legendary jazz drummer Idris Muhammad, originally release in 1974. He embarked on his solo career in 1970 after years of work as a sideman for the absolute biggest names in jazz such as George Benson, Lou Donaldson, Grant Green, Ahmad Jamal, Pharoah Sanders, and many, many others.

This record was produced by Creed Taylor, founder of CTI, and engineered by Rudy Van Gelder. The architect of the Blue Note sound developed a deep relationship with Muhammad and played a big role in finetuning his sound. But, don't forget the rest of the line-up; the recorded features arrangements and compositions by keyboard legend Bob James and smooth jazz founder Grover Washington Jr., supplemented with performances by Randy Brecker, Joe Beck, and Ralph MacDonald. All in all, you can see why Muhammad's works ended up as samples on so many hip-hop records.

Power Of Soul is available as a limited edition of 2000 individually numbered copies on white vinyl.

Underrated drummer’s 1965 album. His debut solo album and one of only two Blue Note albums as leader (the second emerged in 1997).
Recorded at the Van Gelder Studio on 19th May 1965 Featuring Blue Note legend Joe Henderson on tenor, Steve Kuhn on piano and Steve Swallow on bass.

Showcasing three fine La Roca originals (the title track, ‘Candu’, ‘Tears Come From Heaven’), Steve Swallow’s ‘Eiderdown’ and interesting takes on the standards ‘Malaguena’ and ‘Lazy Afternoon’. Produced by Alfred Lion Includes a famous Reid Miles cover, plus photography by Francis Wolff and liner notes by Ira Gitler

In the American midwest, the two weeks or so in mid-Spring that brings the year's most vibrant crop of edible mushrooms coincides with the busiest season for a few of it's most deceptively poisonous fungi: the false morels. Bearing a pale stalk and a halo of cerebral folds, they look like a lot of similar mushrooms, but if you can't identify them for what they are, and treat them the right way, consuming even small quantities can cause vertigo, vomiting, and organ failure.

Lemon Quartet probably weren't thinking about mushrooms when they made their debut album Crestless, but the false morels still provide a window into understanding their music. When you catch their intricately arranged instrumentals at a glance, you can see flashes of other airy artists — they trade in compositional ruffles that may feel familiar to followers of Gigi Masin or any number of releases on Valley of the Sun — but there's this deep, dark something hiding in the record's shadowy corners.

It's not poison though, just a mycelial complexity that begs that you take each piece and study its contours as you take and eat. The work that you put in makes it feel all the more nourishing.

Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim's Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack - big tip!

"21" is the well-crafted, sharp and original first album by the duo HILA, composed by American cellist Artyom Manukyan (who already worked with Kamasi Washington, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark...) and french producer Dawatile.

The combination of jazz, Los Angeles beat-scene and the vibrations of 80s and 90s Soviet Armenia make it a striking and unprecedented fusion. These kind of nostalgic and unconventional references forcefully shake the codes of mainstream culture to create a sincere, raw and intimate expression.

"HILA" was born from a spontaneous and intense creative impulse between Artyom Manukyan, a Los Angeles-based Armenian celloist and his partner in crime, David Kiledjian aka Dawatile, a French multi-instrumentist of Armenian descent. This project is proving to be a true master stroke given that it only took 21 days for the duo to make it a reality.

"HILA" was made in less a moon cycle but captivates and electrifies audiences upon its first outings. "H.I.L.A" colors the warmth of the Californian "High" with Armenian vibes. The artists chose this name for their creation since both have a close and valuable connection to these locales. This journey began in 2007, on the day Dawatile went to Yerevan, the capital of this small country in the Caucasus mountain to realize a first fusion project centered around local folkloric music genres.

There he was introduced to local musicians including the Armenian Navy Band, one of the country's foremost groups in which Artyom played the bass and cello. In this context, he also met many musicians such as Tigran Hamasyan and Norayr Kartashyan. This will be the beginning of connections between Lyon, Yerevan and Los Angeles. The following year, the two artists will be be seen performing next to Taylor Mc Ferrin at the Jazz à Vienne festival. More recently, they partnered up again when the cellist, who had freshly relocated in California, invited Dawatile to produce his album. As soon as the studio’s threshold was crossed, they decided to postpone this record and create a joint project: Hay (as the Armenians call themselves) / High In Los Angeles. HILA was born at the end of these 21 days of intense creation. The association of Artyom Manukyan and Dawatile is the combination of two visions, two versions of Armenia, two personalities, the reunion of the Eastern and Western blocs.

One grew up nurtured by the sounds of hip-hop and jazz in Europe and the other by art music and Russian-influenced 1980s Armenian folkloric music before moving to L. A., Ca. The cornerstone of it all, the glue that unites everything : Armenia and music. They generate a new identity synthesizing two perceptions, their complicity transcending these cultural discrepencies. To achieve this, they will scour through images of Artyom’s childhood, within the popular culture of Soviet Armenia. Together, they revisit this decidedly retro vibe, based on the work of Caucasian groups inspired by African American music. This background is rehashed and fused with ancestral Armenian sounds. The DNA of the album "21" is molded by these dear influences.

We can also hear the ancestral sounds of Armenia, a country at the edges of both Europe and Asia. The presence on two tracks of Armenian music Master Norayr Kartashyan, infuses the languor of past melodies and traditions. These purposeful anachronistic sounds offer a fantastic depth to this powerful opus. Listening to the album, one can appreciate the successful fusion of styles and influences. Those combinations, however, manage to preserve individual identities only to enhance the art through an adamant musical dialogue.

Being driven by the urge to transpose Armenian musical traditions into a unique universe, the daring artists, offer an innovative combination by blending, for the first time, these ancestral sounds with the world of Los Angeles beat-scene and jazz. An invention largely fueled by the magic strings of Artyom and maestro Miguel Atwood-Ferguson, a pillar of the genre in Los Angeles combined. These associations resonate with a triumphant equilibrium. HILA is musical uncharted territory in which Artyom's cello strings intertwine to ignite the harmonies of keyboards, the machines, the vocals and electronic layers Dawatile pieced together. HILA plays the soundtrack of an adventure set between Armenia around the end of the Soviet era and a mysterious near future.

Artyom Manukyan grew up in Armenia in the 90s. At the time, he studied Russian classical music while learning jazz with assistance by his father, a music journalist. Being an unconditional music lover, he went on to sharpen his skills at the prestigious Berkelee College of Music. Subsequently, he’s been lucky enough to travel the world touring with numerous acts and mainly with the Armenian Navy Band. The group has fostered alacritous success honored by a BBC Award as a crowning achievement. He moved on 10 years ago and made his way to L.A. with his cello on his back. In the City of Angels, he quickly became a popular figure of the jazz and hip-hop scenes thanks to his first album "Citizen". He’s accompanied prestigious musicians such as Kamasi Washington, Melody Gardot, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark, or Vulfpeck. He released his solo album on the cello, "Alone" in October 2019.

Dawatile is a bold producer and multi-instrumentist as well as a passionate and resolute musician molded by jazz. As a versatile artist, he handles and juggles the saxophone, the keys, the bass and composition. Simultaneously, Dawatile produces cross-over projects and soundtracks for the movie industry. He, as well, has had the opportunity to be a part of many tours, including with his electro hip-hop band, Fowatile and more recently with the "Future Kreyol" trio, Dowdelin. Being the ever workaholic, he has under his belt a string of prestigious collaborations with the likes of Talib Kweli, Foreign Beggars, Roy Ayers, Tigran Hamasyan, Mathieu Boogaerts, Voodoo Game and Piers Faccini. His taste for developing new musical recipes and his know-how in production make him a much sought-after album producer. In concert, the HILA duo offers a sober, precise and rhythmic performance. "21" is an aerial and lively album taking the audience on an at times joyous and sometimes melancholic dreamlike journey. The magic of "HILA" operates at the speed of light and positions it already as an avoidable group.

Zayaendo is a Tokyo-based brassband, colorful, unique and adventurous...you won’t find any of the typical brass-bands-cliches here, nor are they a free-unit of improvisors…they nothing less then invited their own genre...Zayaendo Music !
Zayaendo was formed in 2016 by Saya (Tenniscoats, Spirit Fest) and Satomi Endo (Biobiopatata) after Saya was inspired by a performance of the acoustic instrumental band Hochzeitskapelle, who she saw in Munich.
The band also includes Tomoaki Saito, Masaharu Seki (sekifu), Takashi Ueno (Tenniscoats), Kiyokazu Onozaki (Andersens, 2B) and other musicians who play with other bands or as solo artists. Zayaendo consists of somewhere between ten and twenty musicians (depending on who is available to play at that time) and forms an orchestra that plays each other’s compositions as well as covers of experimental timeless masterpieces. Since the band play acoustic instruments, their performance venues vary from the street to the forest.

In 2018, the band played at the Alien Disko Festival #3 with their beloved Hochzeitskapelle, where together they took part in a parade through the streets of Munich to celebrate and ring in the festival. In 2019, their first album Zayaendo music was released on the majikick label, and now, as vinyl, by Alien Transistor, Munich.

Zayaendo are:
Satomi Endo (s-sax), Ryoko Kajiwara (fl), Ken Manabe (t-sax), Masaharu Seki (eupho), Kiriko Kasamatsu (trb), Yutaka Hirose (tuba), Takashi Ueno (banjo), Tomoaki Saito (mandolin), Mitsuru Tanaka (perc), Shintaro Kiyonari (perc), Haruhiko Seki(perc),Saya (perc)

LTD LP - GOLD COLOURED VINYL
More unearthed tape from a jazz icon! Thanks to a 21-year-old with a tape machine, we can all experience the majesty of guitar legend Barney Kessel! This second volume of Jazz Mill recordings shows Barney firmly at the top of his game!

David Gray’s multi-platinum-selling album, White Ladder is presented in newly remastered audio in celebration of its 20th anniversary.
White Ladder spawned the timeless hits “This Year’s Love,” “Babylon,” and “Sail Away” and is one of the greatest and most heart-warming word-of-mouth successes in music. “What happened with White Ladder involved more than music. It was a sort of heart and soul moment of total surrender for everybody involved, for me and the
audience. That was it. It doesn’t get any better than that.” - David Gray

The expanded, deluxe edition features a remastered version of the iconic album plus a second disc; LP of previously unreleased and rare White Ladder-era B-sides and demos. LP 2x12" regular pressed & designed on 140g White Coloured Vinyl, Includes Printed Inner Sleeve, Gatefold & DL Card.

David Gray’s multi-platinum-selling album, White Ladder is presented in newly remastered audio in celebration of it's 20th anniversary.
White Ladder spawned the timeless hits “This Year’s Love”,
“Babylon,” and “Sail Away”, and is one of the greatest and most heart-warming word-of-mouth successes in music. “What happened with White Ladder involved more than music.

It was a sort of heart and soul moment of total surrender for everybody involved, for me and the audience. That was it.
It doesn’t get any better than that.” - David Gray.
The expanded, deluxe edition features a remastered version of the iconic album plus a second disc; LP of previously unreleased and rare White Ladder-era B-sides and demos.

LP 4x12" regular pressed & designed on 2x White Coloured Vinyl (Shipping in a Gatefold Sleeve) & 2x Black Coloured Vinyl (Also shipping in a Gatefold Sleeve). Includes 40-Page Booklet w/Spine
& Rigid Slipcase.

25 years ago, David Shea released a crafty piece of complex philosophical and narrative audiocolage: The Tower of Mirrors. Composed and produced in New York City, during September-October 1995, it includes 24 tracks, and features guests such as David Morley on analog synthesizer programming, Dave Douglas on trumpet, Zeena Parkins on piano & prepared piano, Jim Pugliese on percussions.

"In 1994, i wrote a work based on the Hsi-Yu Chi novel for a large ensemble and sampler which used the 100 chapters as a map for creating an independent musical work. The Tower of Mirrors is a work that began as a collection of pieces for sampler solo and for sampler and solo instrumentalist. A series of 'mirrors' for solos and duos based on parts of the novel. also a collection of tributes to composers in ambient dance music, exotica, easy listening film music and experimental music formed separate points of entry. in particular many of the great arrangers and composers of the period from 1955-64 who were the pioneers of stereo recording such as: Esquivel, Marty Gold, The Three Suns, André Popp... historical teachings (often completely out of order), religious lessons, and a host of allegorical, historical figures encountered much in the same way as in Dante's La Divina Comedia."
- David Shea, 1995

"I'm reflecting today on the period of my life where I was immersed in the Chinese mythological Taoist/Buddhist stories of the Monkey King - Sun Wu Kung - titled, in English, The Journey to the West. I was also lost in sea of Hong Kong films and living in New York working in many of John Zorn's projects (Elegy being one of many high points) and just beginning my own tours in Europe and with Sub Rosa. Tower of Mirrors became a defining cross into to the last 20 years of my life. I felt thrown into the ethersphere during the years of 94 95 myself and I could not be more grateful to have created during and survived that time. I collaborated with so many during my travels and the credits are full of the people I was so lucky to have crossed paths with. I began a different path soon after this, with my interest in exploring Italian and Irish roots and reflecting on my teenage years of studying Taoism, Chan Buddhism, meditation and martial arts and what followed was a long period of influence from Giacinto Scelsci and Luc Ferrari to traditional Chinese and Buddhist musics. Enjoy and explore the references and connections I wanted to share then and now."
- David Shea, 2019

Eddie C's exemplary RED MOTORBIKE hits No. 20 with another fine double A, dinked 7" !!

A breezy and musical ride awaits on the A, as 'On The Coast' provides a beautifully sliced, pastel linen suited piece of early 80's Japanese Jazz-Funk

On the B, label regular CEM G's 'By The Sea' is reworked by Eddie into a looped-up and irresistible mid-tempo musical mover.

Prolific soul man Carlton Jumel Smith made a fresh opening into deep vintage soul sounds with his Timmion single debut. Now he's back for more with the dancefloor track "This Is What Love Looks Like", paving the road towards his album, which is dropping on Timmion at the beginning of 2019.

Think of classic funky soul with a little bit of Chicago, some Tighten Up guitar and blaring horn melodies, and you get an idea, where this energizing groove is headed. Carlton gets going with his soulful testimony, while the A-list of Finnish soul and jazz players from Tuomo Prättälä and Jimi Tenor to Jukka Eskola strengthen the Cold Diamond & Mink band to new heights.

If the first single dripped with heartaches and bitterness, this one is a monumental sonic heart emoji instead, seasoned with sweet sunshine. Even though Carlton can play any part the lyric casts him in, the conveyor of positivity suits him well. In real life it's not rare to see the man smiling, and when performing he oozes with peace, love and soul, turning the audience inside out. Here he's laid down one for the dancers!

A bona fide legend of the acid jazz / jazz funk scene, James Taylor returns with a stunning new James Taylor Quartet record,
People Get Ready (We’re Moving On). An absolute sonic marvel of a record, particularly when listening on vinyl, it ties together the effortless melodic funk of the quartet, the fullness of sound that only an orchestra can bring, high quality commercial song-writing and the staggering vocal talents of Noel McKoy and Natalie Williams. Undoubtedly one of the best sounding records of 2020.

In the Artist's words: “Along with a desire to develop the breakthrough sound of JTQ + orchestra debuted on Soundtrack of Electric Black, I also wanted to make a record to showcase outstanding soul voices.

Reaching back and re-examining the crossover work I did thirty years ago with the UK’s finest soul singer Noel McKoy, combined with the discovery of the stunning soulful vocal talent in the form of Natalie Williams, I was drawn to write a funk vocal album for these outstanding voices, but now incorporating these new orchestral ideas.

With JTQ still gigging heavily, we have developed our sound and matured to become rhythmically stronger than ever. Coupling this with the supercharged support of Audio Network which gave us access to Abbey Road Studios, we had the perfect recipe for creating something special. I hope you enjoy this album half as much as we did making it! Peopl... Get Ready.. .We’ve moved on!“
- James Taylor, 2020

A British jazz funk icon and renowned for his Hammond organ sound, James Taylor recorded this “dream project” at London's Abbey Road Studios with a string orchestra and two UK soul sensations in Natalie and Noel, the latter with who he previously worked when helping to carve out the Acid Jazz sound back in the early 1990's.

For those of you hearing James Taylor Quartet for the first time, his career as JTQ - of which the group is most fondly known - dates back to the late '80s. Take a quick glance at the labels he's recorded for - Gearbox, Acid Jazz, Ubiquity, Freestyle Records and Record Kicks - some of the most revered in the wider jazz and funk categories, and it gives you an idea of the level of respect he has garnered over a career that places him in a category all of his own.

Historically supported by all mainstream media across national and tastemaker radio, TV and music press, we expect to see a high visibility return with this record. Expect widespread blog / online press / music monthlies support plus Radio 2 / BBC6MUSIC action for the People Get Ready (We’re Moving On) single, on DSPs from January 31st.

For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label. Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude
Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau. This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey
or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann
Pacaud)

12". LP regular pressed & designed on 180g Black Coloured Vinyl. Includes Obi-Stripe, limited Edition to 400 Copies.

Beside the telluric year in pop music and culture, 1977 was still ranked as the future for Italian leftfield composers. Published by roman imprint Gemelli and credited to the elusive Massimo Guantini (none else than influential jazz player and composer Sandro Brugnolini), Diapositive is a fully cinematic journey in the realm
of sci-fi and cool jazz.

Fully produced at famous roman Emmequattro Studios (home of many fascinating recordings by piano player Enrico Pieranunzi) the album is deeply rooted in the coolness of italian libraries, showing up such an incredible music craftsmanship. Fully adorned by a vibrant rhythm section, an acoustic piano, a clavinet, a Fender Rhodes and a proper ‘acid jazz’ guitar-playing, this album will lift your mind and soul for good.

12". LP regular pressed & designed on 180g White Coloured Vinyl. Includes Obi-Stripe, limited Edition to 400 Copies.

Beside the telluric year in pop music and culture, 1977 was still ranked as the future for Italian leftfield composers. Published by roman imprint Gemelli and credited to the elusive Massimo Guantini (none else than influential jazz player and composer Sandro Brugnolini), Diapositive is a fully cinematic journey in the realm
of sci-fi and cool jazz.

Fully produced at famous roman Emmequattro Studios (home of many fascinating recordings by piano player Enrico Pieranunzi) the album is deeply rooted in the coolness of italian libraries, showing up such an incredible music craftsmanship. Fully adorned by a vibrant rhythm section, an acoustic piano, a clavinet, a Fender Rhodes and a proper ‘acid jazz’ guitar-playing, this album will lift your mind and soul for good.