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The Source is the Nigerian drummer's first album for Blue Note, one of the most prestigious names in jazz and a label that has opened its sphere of activity considerably wider since its renaissance in the Eighties. Perhaps more than any other title in the catalogue, The Source represents the label's classic era at the same time as it symbolizes Blue Note's innovative present. The album achieves this by means of a sound-aesthetic that has total integrity, the result of a scrupulous transcribing of the music using a technology that is exclusively analogue, and doing so according to the precepts of the virtuous philosophy inherited from the label's founders, Alfred Lion and Marx Margulis.

Hyperjazz Records is the product of the ever-changing language that is modern music, of its frantic and unrestrained evolution. A crossroads between past and present, and where jazz attitude meets new sounds and aesthetics.
 
HJ is the brainchild of Raffaele Costantino, known internationally for his meteoric rise under the moniker DJ Khalab, but known also for being a committed exponent of black and electronic music in his own country. Together with his friends and collaborators, and counting on a strong network both in Italy and abroad (Worldwide FM, BBC, NTS, Bandcamp), the DJ/producer/radio presenter (Musical Box, Rai Radio2) has given life to Hyperjazz, the result of two years of planning, reflection and research.

The Word Was Made Phresh is the name of Phresoul's new album, out on March 22nd on Hyperjazz Records. Seven instrumental tracks, tight and essential, which bring into sharp focus the talent and versatility of one of recent years' most interesting groups in the jazz, hip-hop, and alternative-rock scenes. The new project by the trio, which is one third English and two thirds Italian, formed by Charlie Stacey (piano, fender rhodes, synthesizer), David Paulis (double-bass) and Enrico Truzzi (drums), dismantles jazz's traditional rules, absorbs influences and contemporary sounds and portrays with lucid irony the contradictions and conflicts of our times. This record comes two years after their debut Metempsychosis, and solidifies Phresoul's sound, where noise-rock improvisations coexist with neo-psychedelia, abstract hip-hop and space-jazz.
 
Just like in 'Monitor Lizard,' a syncopated piece which introduces us with immediacy to an energetic jazz interference, able to capture a single moment, moving as rapidly as a reptile, never in straight lines. The melancholy beats of 'Institutional Violence' punctuate the piano's melody, which slowly transforms into synth and the futuristic slow-funk of 'Sphere Alliance,' anticipating the accelerated beginnings and pauses of 'Lithium,' an undoubtedly hip-hop jazz 3.0 track. The liquid atmospheres and irregular drumming of 'Hipster Antichrist' bring to a close with amused hysteria this rhythmic ellipsis which looks at the West with melancholy and little confidence ('Trump-Pence').
 
The tension built by the continuous changes in rhythm is released in the torrential 'Blended Family,' in which Stacey's keys progressively conquer space between the noise-guitar and the powerful and irregular beats of drum'n'bass, for an epilogue to a fresh and original record that is inspired equally in its inception and its execution.

· Album presentation live @ Camden Assembly London, 13th June
· Genre-spanning UK jazz artist who has worked with the likes of Craig Charles Fantasy Funk Band, Nightmares On Wax, The New Mastersounds, and Rae & Christian
· Follow-up to the debut and highly credited La Sombra from 2017
· Features guest UK trumpeter Matthew Halsall on 'The Mirage'
· La Sombra made Gilles Peterson's 'Best albums of 2017' list, with a track included on Brownswood Bubblers 12
· Part of the Matthew Halsall live band and toured with Dwight Trible

Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham's globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip's many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights.

After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, 'Barrio 71' sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. 'Snake Eyes' taps into the meditative exaltations of modal jazz, while 'Soho Strut' nods to the jazz fusion, funk-influenced side of Chip's playing.

Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. "Shamal Wind" is a heavy record, built on strong foundations.

Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.

On "La Sombra":
"This is coming from the outside, I was like whooooa, easy. Blowing hard - they got it right! Gilles Peterson
"I'm becoming convinced that Chip Wickham is a genius" Craig Charles
"An impressive solo debut" London Evening Standard
"Majesterial and electrifying stuff" 9/10 Blues & Soul Magazine
"Tonally and melodically elegant and with a distinct 1960s/1970s vibe" Scotsman

There is no doubt pianist Hendrik Lasure is one of the greatest talents the Belgian jazz scene has known in the last decade. At the young age of 22, he already is somewhat of a living legend within an incredibly productive and creative Belgian jazz generation that is coming to prominence.

His big breakthrough came in 2016 when he released a well received album with drummer Casper Van De Velde under the name SCHNTZL. Together they explore the limits of jazz, minimalism, neo classical music and electronics. Not only did they win over the typical jazz audiences with their contemporary tunes: artists like Bent Van Looy and An Pierlé just as much showed their support from the very beginning. The latter was so charmed by both young musicians she instantly recruited them for her brand new An Pierlé Quartet.

On the occasion of JazzLab Series and W.E.R.F. Records' 25th birthday, Hendrik was asked to launch a new project in 2018. He gathered his personal dream team and founded ' warm bad ', a seven-headed ensemble featuring Sam Comerford (saxophone), Vitja Pauwels (guitar), Benjamin Sauzerau (guitar), Marco Giongrandi (guitar), Soet Kempeneer (bass), Casper Van De Velde (drums) and Hendrik Lasure himself on piano and vocals.

Together they dove into the studio of friend and producer Koen Gisen to record a dozen new tracks, one by one composed by Lasure. The repertoire hovers somewhere between jazz, minimalism and dream pop. Added bonus: Hendrik reveals himself as a singer for the first time. In doing so he is supported by An Pierlé , who contributed the backing vocals to the single 'Jonas'. Not bad for a debutant singer!

Providenciales Records proudly presents its first release, a reissue of Children of The
Earth by the band Nimbus, independently released in 1980 in the USA, and including an
exclusive track from their second recording session (only available digitally), "You're
Everything To Me".
The band, made up of 4 friends, used to play jazz and soul music at bars in Detroit, when
they decided, in 1979, to record an album gathering compositions of a couple of band
members. They gave birth to Children of The Earth, a sophisticated and melodious album,
with a pinch of AOR, a relish of modern-soul, but also some jazz and folk influences. "Baby
You Know" or "Nezarai" give a groovy dimension to the album, whereas "Hold Me Close" or
"What You Mean to Me" are more laid-back tracks. 'You're Everything To Me', the digital
bonus track of this reissue, which comes from a another recording session, was previously
unreleased.
With less than 1,000 copies pressed and sold locally, the band didn't have the chance to
reach a broad audience until recently. In the past few years, Bill (bassist of Nimbus)
received dozens of emails from collectors around the globe (Japan, USA, France, UK,
Netherlands...) asking for a copy of it.
500 copies pressed, fully remastered by the Carvery (London, UK), and licensed from Bill Capsalis for
Providenciales Records

If 2018's WOLFEP046 touched on the burgeoning talent of rising Portuguese star Pedro, this 2019 follow-up delves deep into the accomplished head that rests on those youthful shoulders.

Opening the EP, 'She is' gives a taste of the path Pedro takes with this record. A ten-minute twisting trip, that moves and melds modern jazz leanings with a rugged aesthetic. Off kilter sax flurries, at times gleaming, at others melting, open up the distorted dreams of Pedro's world, as a metronomic double bass attempts to steady the ship. Metallic rides and abrupt percussive hits contrast with the sustained piano chords, further foraging down his surrealist sidewalk.

Take to the flip to find the waltzing 'Faces sob o sol'. A beatless contemporary jazz piece in 3/4 time, where deft piano melodies dance around a looped up, muted guitar phrase and twanging riffs. A simplicity born from only a handful of layers, that in turn creates a free-flowing fluidity through this jazz rabbit hole.

The most club ready of the cuts, 'Alef' rolls around next, where a funked out bass and psychedelic strummings, marry with crisp cymbals and polished piano playing. Pedro's dream inducing trip still takes its hold though, with distorted, panning, hallucinogenic vocal cries swelling across the airwaves.

Stepping up to close out the EP, Moomin flips 'Faces sob o sol' on its head, laying a rough and ready, liquid DnB rhythm as the basis alongside adding delicate arps and sweeping, atmospheric pads that follow Pedro's original. As hypnotising as its forebearer, but with an ethereal dancefloor orientated radiance.

With hundreds of new producers cropping up, week by week, it's rare to be challenged by something of such high quality from an up-and-coming artist. And with jazz finding a new lease of life across the UK, Pedro's latest output will be sure to find a home on these shores.

Harbans Srih : drums
Frank Brennan : bass
Mark Steeds : keyboards
Steve Tayton : sax/flute
With
Jaki Graham : vocals

Harbans, Steve and Mark met and recorded library music a few times prior. Steve and Mark were from Coventry and Harbans, Frank and Jaki were in Birmingham.

Everyone was involved with the scene at the time playing jazz/funk and soul music with various acts.

Harbans had played with the popular disco/funk band The JALN Band.

Frank played with the Cissy Stone Band who had a great following.

Steve and Mark were in a popular jazz/rock/funk outfit called Pzazz.

Jaki was singing in various bands and drawing a great deal of attention, of course we all know she went on to some great pop success.

These songs were recorded sometime around the 1980's, during that explosive time of uk jazz funk, where it had a massive following up and down the country.

Caravela are an Afro-Brazilian quintet with members from Portugal, South America, Australia and the UK. Their music is an exploration of the communal traditional and spiritual music of Lusophone countries like Brazil and Cape Verde, approached with a contemporary groove and feel.

Caravela shine a light on traditional rhythms and styles and reimagine them with a jazz attitude of improvisation. Blending influences like Baden Powell, Mayra Andrade and Lionel Loueke, Caravela's exploration of Afro-Brazilian music on their debut EP is not to be missed.

Project Karnak is the production duo brainchild of keyboardist Dominic Canning and drummer Sam Ouissellat. 'Equinox' is their debut EP released on London label None More Records.

The whole idea behind the band is that they make synthesised, electronic sounds and bring them into a "jazz" realm accompanied by tight, energetic and fresh drums.

The duo meld influences from drum & bass, jazz, funk and the "Final Fantasy" soundtrack into their fresh new sound.

"Someway Still I Do" is a record enriched by the immediacy of pop, the quality of the arrangements, timeless music that echoes the glory of unforgettable soundtracks, the finest orchestral jazz and the great adult pop productions of the past. Today in 2019, exactly 10 years after its first release on CD, Magnanini's record is reissued on a special 2-LP version with two brand new tracks included on side D: "Cried For You" features once again Cousteau's singer Liam McKahey at the mic, while "Morning Light" is accompanied by Elisa Aramonte's smooth vocals, a new talent joining Magnanini's project "Someway Still I Do".

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Ilmiliekki Quartet is a band of four star-calibre Finnish jazz musicians. The group is a key unit for each of the artists, and one of their original vehicles of creation since its formation in 2002. Here, trumpet player Verneri Pohjola, pianist Tuomo Prättälä, bassist Antti Lötjönen (of The Five Corners Quintet, Timo Lassy Band, 3TM, etc.) and drummer Olavi Louhivuori (of the late Tomasz Stanko's quintet and Oddarrang) present their first new album in 13 years. "Land Of Real Men" is a milestone which will stand strong in each of the four musicians already remarkable discography. Stylistically Ilmiliekki Quartet range from the delicate end of the sparse contemporary jazz sound to the depths of Nordic fire music, always making music which is highly personal and melodic to the bone.

Presented in gatefold 2LP, CD and digital formats, "Land Of Real Men" to be released via Helsinki's We Jazz Records on April 26 offers eight stellar Ilmiliekki cuts, each with its own strong character. The stylistic narrative of the album takes the listener on a journey much akin to the groups celebrated live shows, which are always a hit in their native Finland, but which have also taken the group to Europe, US and Australia. Ilmiliekki Quartet (which roughly translates as "Quartet Ablaze") were one of the big success stories of the "first wave" of Finnish jazz in the new millennium, and although they never really went away, the band is now back with a vengeance.

Four Flies launches its new jazz series dedicated to top Italian soundtracks from the 1960's with this extraordinary work by Piero Piccioni: 3 NOTTI D'AMORE (3 Nights of Love). Originally released in 1964 on CAM - CMS series, this record had a very limited pressing, and is considered one of the grooviest and jazziest scores composed by the legendary Italian maestro. Thanks to the support of an exceptional big band, Piccioni shapes a unique cool style, supported by a truly exotic and percussive rhythm section ("Come on Rome", "Just For Fun"), full of charming flute phrases ("The Easy Way") and baritone sax passages ("Pop's Lolly"), and beautifully played by the two great soloists, Gino Marinacci and Gato Barbieri. Piccioni himself plays the piano on all the tracks, and created a magnificent, dynamic and sophisticated soundtrack. Pressed for the first time in its integrity, this soundtrack includes some missing numbers from the original record, and presents others in their extended full versions, such as "Sally's Surf" (compiled in the essential Easy Tempo series). A superb album featuring marvelous tracks - from bossa to pop-jazz - this original soundtrack also features a couple of tracks by Carlo Rustichelli; two dreamy, sensually vocalized melodies. One of Piccioni's lesser known masterpieces that truly embodies that golden time period, and a real beauty for every 60s jazz lover.

Dreamy bossanova, baroque-jazz, fuzz guitar, psychedelic flute, wide and panoramic themes sung by the heavenly Edda Dell'Orso, and arranged by her husband Giacomo (a.k.a. Oscar Lindok). And furthermore, kriminal beats, spy-exotic flavours, and dreamlike suspense, as well as the unmistakable voices of I Cantori Moderni di Alessandroni.
Recorded in 1972, but previously unreleased on any format, THE LONG ARM OF THE GODFATHER, a.k.a. RAFFICA, embodies the essence of the best Italian soundtracks from early 70s. Pure class and top-quality sounds, played by some of the best Italian session musicians of the time.
After the amazing discovery of the terrific and esoteric score to SORTILEGIO, Silvano D'Auria shines once again as a talented film composer. Groove, elegance, and sensuality are all brilliantly represented on this record. Limited Edition of 500 copies with a bonus CD included.

"The New Sicilian Sound"

Hailing from Palermo, Smuggler Brothers deliver a unique sound, deeply rooted in the diverse and rich heritage of their island - Funk-prog flavoured Mediterranean library music with Arab and North Afrika influences. Produced by Massimo Martellotta (Calibro 35). This 45rpm anticipates the band's full-length album with two non-LP new tracks, exclusive to this release!

Helsinki-based duo Timo Lassy & Teppo Mäkynen present a new two-tracker on We Jazz Records and dive deep into different moods on this 7" / digital single release. Lassy plays sax, Mäkynen (who is also known as "Teddy Rok" and via his Stance Brothers alias) plays drums and handles production duties. First up, we have "Zomp", a deliciously slow funk piece with enough groove to move mountains. On the flipside, "Dark Magenta" takes things leftfield with its tech-like rhythmic approach applied here onto an acoustic jazz quartet and hinting at Mäkynen's interest in electronic music.

As far as the term "award-winning" goes, here we have two of the latest "Finnish jazz album of the year" winners joining forces and doing what they do best. "Zomp / Dark Magenta" is out on Helsinki's We Jazz Records on 3 May. The 7" vinyl single follows the label's path of producing their singles with beautiful heat-pressed labels and serving them just right in generic brown sleeves.

A wide selection of rare Turkish funk, jazz, beat and psychedelic music from the 1960s and 1970s.

This is the third issue of the groundbreaking Bosporus Bridges compilation series started in 2005 (Vol. 1) and continued in 2011 (Vol. 2).

Why did it take so long for the release of Vol. 3 Because deep digging, deep selecting and our wish to serve you Turkish pop music of the highest order takes its time. And it is worth doing so. According to the aspiration of the Bosporus Bridges series you will get extraordinary music, opening your mind and remapping your knowledge of Turkish music.

As Turkish pop music is a hybrid of Western and Eastern elements, it's not just funk, jazz, beat and psychedelic music but each time a specific Turkish approach to a hybrid pop music. This incorporates Turkish language, instruments, melodies etc., all mixed with electric instruments, drums and sound effects of Western pop music.

Enjoy deep Turkish funk by Seyyal Taner, Süheyl Denizci, Cengiz Coskuner and Erkut Taçkin, Turkish jazz by the Burhan Tonguç Ritm Grubu and Figen Han, Turkish beat by Lili Ivanova, Ajda Pekkan and Fatos Balkir, Turkish psychedelic by Semra Sine, Serter Bagcan and Harout Pamboukjian, and Turkish-Asian rock by Dönüsüm & Halit Kakinç.

Quality LP vinyl pressing with restored and remastered audio material of the original records. Comes in a wonderful, authentic and special seventies English-styled old-fashioned cover.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

THE original Jazz dance classic is finally re-pressed once again on a beautiful 7inch and with the original label artwork.

This cover of Pharoah Sanders original anthem was one of the biggest records when it was released back in 2002 and was played all across the globe by everyone from Gilles Peterson to United Future Organization.
Proper "Jap-Jazz" but recorded in Sweden and produced by no other than Mad Mats himself!

Compilation (LP + DL) Un-earthed latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of 60's Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world.Sensual voices and Bolly-wood-like orchestra sounds inflame the senses of the body with an in-tangible exotic twist! All music is remastered from original 45's pro-duced by Sono Cairo

The SlothBoogie crew welcomes man of mystery Joe Cleen to the SBEDITZ series with 4 outstanding raw and ready cuts.

Starting us off is the certified disco monster 'Give You All I Got'. Infectious brass, erotic vocals and huge space toms are reworked to launch any dancefloor into the stratosphere! Next up is 'City Nights' a neon soaked snapshot of an 80's nightclub in miami filled with rhythm guitars, slap bass & gliding synths.

Things get emotional on the B-side with 'Dear Lord'... A glorious piano jam laced with dubbed out gospel vocals, shuffling drum machine hats and a pimped out G-Funk synth lead that really takes you to church! Closing out the EP is 'The Fun Part', a bubblin' bass funk groover filled with crisp percussion and jazzy Rhodes licks.

A 9-track album featuring special guests including Andre Espeut, Moniquea and Adam Chini. After his first album on Omega Supreme Records, the Portuguese producer brings us a new album in which funk, boogie and jazz are fused creating delicate pieces full of groove with a sound that leads us to the 80s. Don't miss it!

Limited pressing of mythical edits by GLENN UNDERGROUND of rare jazz funk fusion music of EDDIE RUSS "TAKE A LOOK AT YOURSELF", SARAH DASH "COME AND TAKE THIS CANDY", GARNETT MIMMS & TRUCKIN' COMPANY "WHAT IT IS" & SIDE EFFECT "NEVER". Hand stamped, paper sleeves. Another winner, don't miss it!

johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

this is an album by vocalist mayumi sonoda—a jazz vocalist who looked up to chris connor and made her debut at a us army camp at the age of 16—that was recorded with the help of kichiro sugino's trio.

opening with the bilingual ballad 'it's over,' in which she sings in both english and japanese, the album sees her covering standards that giants like helen merrill, frank sinatra and billie holiday have popularized, while showcasing her vocal abilities that set her apart from her peers. it's a hid-den japanese female vocal jazz gem.

The great Bassist and band leader Charles Mingus cut some of his most exciting and rewarding recordings in 1960. Taped during the apex of Mingus' creativity, shortly after masterstroke Mingus Ah Um, just before his brilliant Oh Yeah, and in the same year as the classic Blues & Roots, this incredible session showcase such stars as Eric Dolphy, Roy Eldridge, and Tommy Flanagan. Mingus' arrangements are, as always, top notch with an unparalleled understanding of space and melody, and the playing is without doubt up to his standards. Mingus is one of the greatest jazz minds of the 20th Century and these sessions are another fine example of his genius.

Credit for this album is partially due to Miles Davis, who had somewhat recently purchased Coltrane his first soprano saxophone, previously it had been little used in jazz. This 1961 album also seems to fully mark Coltrane's transformation into modal jazz, another Davis influence, and his modal take on the the classic standard, "My Favorite Things", from The Sound Of Music soundtrack, remains one of the more iconic jazz songs in history. Rounded out by 3 more standards, performed in modal interpretations that completely redefined the meaning of a "standards" album, My Favorite Things, is one of the many transcendent jazz albums the legendary John Coltrane is responsible for.

Another classic from BritFunk pioneers, Atmosfear. This time it's the turn of the mighty 'Motivation' - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike. Cut loud at 45rpm.

As per the original release it comes backed with the track 'Extract' a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey's legendary Moist club night.

Released on both Elite and MCA in 1980.

Gifted Culture reveals the last EP of the trilogy featuring three improvised jam sessions of the collective. This time the ghetto beat maker Christopher Rau joins the crew in Berlin Mitte. Christopher, Autre and Two Thou start diving into slow, detached dreamy atmospheres eventually exploding into frenetic floor killer breaks. The music recorded in the session represent the perpetual dialog between the artists, resulting in an eclectic and variegate piece of music.

Japanese Jazz/breakbeat, Folkloric Mega-rarity As Hallowed The Likes Of Dj Shadow, Cut Chemist, Egon And Co. Uniquely Combines Traditional Japanese Instrumentation With Western Jazz Influences.
Minoru Muraoka Plays 'shakuhachi' - A Traditional Bamboo Japanese Flute - Joined By His Band Members Accompanying Him On The 'koto' (strings) And 'tsutsumi' (drum) Amongst Others, To Create Their 'shakuhachi Jazz' Sound.
Includes Cover Versions (take Five!) Of Very Well-known Jazz & Pop Classics, Coupled With Two Original Songs.

22a present this two-track 7' single from this Tenderlonious-led jazz quartet. Strictly limited to 500 copies worldwide, this is going to fly out!

Ruby Rushton kicked down the door for the UK jazz renaissance back in 2015, and continue to lead the way in 2019 with this new genre-defying recording. The music is rooted in the spiritual concepts of jazz heroes such as John

Coltrane and usef Lateef, whilst adopting influences from hip hop, Afrobeat and the UK underground culture.'Eleven Grapes' is a song that was first conceived back in 2013. Its catchy

time signature and playful melody fit together perfectly. The intricate interplay between Tenderlonious's flute and Aidan Shepherd's keys transport you back to the heyday of Bennie Maupin and Herbie Hancock.

'One Mo' Dram 'is a tune reworked from an early Tenderlonious studio production. The groove is deeply rooted in traditional West African rhythm. Tim Carnegie's tough drum break builds and wraps itself around a slick trumpet

solo from Nick Walters, before rolling back into the intricate melody that binds the track together.

Monorails and Satellites - Works For Solo Piano Vol, 1,2 & 3

"I have always thought orchestra. I play that way, even when playing the piano." - Sun Ra Considering the monumental depth of Sun Ra's recorded oeuvre, there are surprisingly few solo piano albums.

Monorails and Satellites Volumes 1 and 2 were the first commercial LPs of the artist's solo keyboard excursions. Recorded in 1966 and released on his Saturn imprint in 1968, Volume 1 featured seven idiosyncratic originals and one standard ("Easy Street") delivered in Sunny's singular manner. Volume 2 was released the following year, and contains five compositions, all originals. A third volume was prepped but shelved, and this deluxe edition marks it's premiere release.

As with all Cosmic Myth releases these volumes are superbly mastered, and are available as a deluxe 2xCD or 3xLP tri-gatefold cover with copious liners notes by renown American jazz pianist Vijay Iyer, and additional overviews by jazz historian Ben Young and producer Irwin Chusid.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

The German Jazz quintet Fazer releases the 12' White Sedan with two remixes by Glenn Astro & Hodini (Apollo, Ninja Tune, Tartelet, Money $ex etc.) and Werkha (Tru Thoughts).
The band appeared on the map in March with their self-released debut album MARA. The dynamic range of their drum-centered sound combined with extensive improvisation resonated with international listeners and DJs alike, appearing in sets by Mafalda or Louise Chen and on the waves of radio stations like NTS, Le Mellotron or Worldwide FM.

The original track builds on the so called - Guaguanco', a traditional latin rhythm that is closely tied to dance. Stretching over 7 minutes, the song opens with an introduction of the groove by the two drummers. The main theme then sets the mood that is maintained through searing trumpet kicks and two solos of remarkable restraint that is too often missing in the contemporary jazz world. After a reprise of the theme, the tune ends on a mellow note echoing its more frantic parts in a more soberly manner.
Romantic yet never tacky, White Sedan can be a special turn in an eclectic DJ-set as well as the soundtrack to a sundown getaway scene in a heist movie.

Glenn Astro & Hodini completely melted down the original stems, molding them into a glimmering warm-up gem with the usual virtuosic musicality they're both known for. While for their latest LP - Turqouise Turtle' on Apollo Records they pooled together individual tracks, this remix is their first proper collaborative effort so far.

Werkha's take incorporates the original rhythm but adds a breath of fresh air with deep jazzy keys and ecstatic Prophet synth stabs. While it starts smoothly, inhaling the vibe of the original, the remix evolves into a peak-time banger that could tear the roof off of any party at the right moment. The distorted percussive elements give the track a breaky attitude and expose the gritty northern roots of the Manchester-based producer.

If Fat Albert Rotunda sounds like the most fun Herbie Hancock had in his early years as a band leader, it should. He composed the music for the pilot of the children's television show Fat Albert, redirecting the post-bop jazz he honed in a five-year stint with the Miles Davis Quintet towards the R&B and funk styles with which he was becoming enamored. The result was a playful, joyous album in which Hancock clearly had a great time.

The same goes for the rest of his Sextet, which by the time of recording in late 1969 was both razor sharp and confidently loose from rehearsing and touring. Flying high with three horn players - Joe Henderson on sax and flute, Garnett Brown on trombone and Johnny Coles on trumpet and flugelhorn - alongside Hancock's soaring Fender Rhodes electric piano, the group could swing freely on a track like the rousing "Fat Mama" and emote precisely on the subtle "Tell Me A Bedtime Story."

Their versatility won over Warner Bros. who signed Hancock after hearing these infectious compositions and watched Fat Albert Rotunda climb the Billboard Jazz Charts. In subsequent years, Hancock would expand and experiment with the Sextet's sound, creating two more albums for Warner Bros. Regardless of where he went next, Fat Albert Rotunda is still, 50 years later, about as fun as music gets.

After releasing their Warner Bros. debut, the Herbie Hancock Sextet underwent a major transformation in the early '70s. Over the course of a year, every member was replaced (except Herbie Hancock himself and bassist Buster Williams) and each adopted Swahili names. (Williams even led the group in occasional sessions of Buddhist chanting.) Hancock chose the moniker Mwandishi (meaning "composer"), and the Sextet became unofficially known as the Mwandishi Band.

The lineup's first album - simply titled Mwandishi - reflects Hancock's new aesthetic and spiritual directions. Stretching out from the R&B / jazz fusion of Fat Albert Rotunda, the pianist would draw inspiration from his time with Miles Davis (whose classic Bitches Brew came out in 1970) as well as through the creative relationship he had formed with producer David Rubinson (known for his work with Moby Grape and Santana).

"Ostinato (Suite for Angela)," dedicated to political activist Angela Davis, is an extended jam with stunning rhythmic complexity - enhanced by studio effects, such as Echoplex delay. On the ballad "You'll Know When You Get There," Hancock's tight arrangements are saturated in reverb, which gives an ever-shifting dimensionality. Side-long closer "Wandering Spirit Song," written by trombonist Julian Priester (aka Pepo Mtoto), goes even further out: alternating between dynamic soloing and group improvisation, the Sextet fully manifests the radical potential of their collective identity / energy.

Mwandishi remains a bold and expansive statement, even after nearly 50 years.

Crossings was the second release by the Herbie Hancock Sextet lineup known as the Mwandishi Band, following 1971's Mwandishi which stretched Hancock's already-adventurous writing and expanded the music through post-production. This approach would play an even larger role on Crossings, the pianist's final album for Warner Bros.

For two of Crossings' three pieces ("Quasar" and "Water Torture"), Hancock took basic instrumental tracks to Patrick Gleeson's Different Fur Studios, hoping to learn how to play the Moog synthesizer. Instead, Hancock let Gleeson contribute layers of sound to both pieces. On "Quasar," a ballad in 7/4 time, Gleeson extends the horn playing of Bennie Maupin, Julian Priester and Eddie Henderson through electronic accents, while on "Water Torture," he provides a ghostly counter melody on the Mellotron, a keyboard that utilizes samples from string instruments.

These studio enhancements give Crossings an otherworldly dimension, making the album feel bigger and more fantastical, yet the Sextet's playing - recorded without much in way of edits or overdubs - keeps everything grounded. Indeed, Gleason's additions are often so natural that it is hard to pick out what's acoustic and what's synthesized.

While the Mwandishi Band's tenure was unfortunately short-lived, the advances Herbie Hancock made with them still sound exciting today and would propel him into further inventive territory with future jazz-funk project The Headhunters.

A selection of demos, remixes, bonus tracks and practice sessions (including revealing recordings of the very first band rehearsal) from Corduroy. Some thought lost, some over-looked but all very rare.

Second vinyl release from the Berlin based Jazz-O-Tech Records.
* Jazz-O-Tech is proud to announce the second chapter of its limited edition vinyl release "White Gardenia": a format that combines deep tech electronic grooves with the mystic, intense and intricate atmospheres of jazz music.
* The A side of the compilation starts with "Eshe" a track by the dutch producer Duke Zilla, a perfect opener for the vinyl with its funky, dreamy, and tribadelic vibes, followed by "Modal Miles" by the Italian trumpet player Cesare Dell'Anna (remixed by DN3), a cool deep tech track full of smoky jazz quotes of the almighty Miles Davis himself. "Dick Dunker" by the Berlin Based duo Flat Maze closes the first half, and it's a great example of what we call Techno-Jazz the perfect mix between cutting hedge techno sounds and experimental jazz piano.
* The B side is meditative and musically very dense, with the talented duo of newcomers Key Clef on synths and Riccardo Nebbiosi on sax presenting 'Angel Walk to the Sea' a beautiful trip into a poetic and progressive territory, which smoothly leads to the intricate and experimental fluid jazz grooves of "Story telling" by the Italian electronic jazz band Gamapawa, which closes the compilation.
* Jazz-O-Tech is a record label based in Berlin and Milan which has the ambition of creating a new music movement that merges Techno with Jazz, tradition with modernity, improvisation and experimentation, and takes the listeners on an emotional, futuristic and intense musical journey.

'I love Horace Tapscott! I love his music, his philosophies, and everything he did for the community that I grew up in' KAMASI WASHINGTON

Soul Jazz Records are proud to release the first in a series of albums by the legendary Los Angeles radical jazz artist, Horace Tapscott and The Pan-Afrikan Peoples Arkestra. Horace Tapscott is the key figure in the Los Angeles political and underground jazz scene of the late 20th century - his stridently independent and radical music, as far-reaching, cosmic and spiritual in scope as it was rooted in the Watts community of Los Angeles where he lived.

This superb rare, deep and spiritual jazz opus album was recorded at the Immanuel United Church of Christ, Los Angeles, in 1979, and has been unavailable on vinyl for over 40 years. 'I had a vision of the inside of this church, and I went there, and it was just like I had dreamed it.' This location remained the residence of the musical collective for most of the 1970s.

The music of Horace Tapscott and The Pan-Afrikan Peoples Arkestra is part Sun Ra Arkestra, part John Coltrane, part Art Ensemble of Chicago. This ground-breaking and monumental album (released here for the first time ever on expanded triple vinyl and double CD) explores the multi-faceted deep and spiritual jazz of Tapscott - Afro-centric rhythms, hypnotic bass lines, Tapscott's stabbing modal piano playing and stunning flute and horn arrangements. 'The Pan-Afrikan Peoples Arkestra - Live at I.U.C.C.' is a true high point in the cannon of great independent underground jazz music recorded during this era.

Tapscott's Pan-Afrikan Peoples Arkestra was set up as a musicians' collective in Los Angeles in the early 1960s, part of the Underground Musicians Association (UGMA), later Union of God's Musicians and Artists Ascension (UGMAA), an umbrella organisation for musicians, poets, dancers and painters in the neighbourhood. Out of this group came many leading players including Black Arthur (Arthur Blythe), Azar Lawrence, Dwight Trible, Phil Ranelin (originally from Tribe), writer Stanley Crouch, David Murray, Adele Sebastian, Jesse Sharps and hundreds more.

At the start of the 1960s Tapscott was part of a radical underground jazz scene on the west coast that included Don Cherry, Ornette Coleman and Eric Dolphy. But while these other artists sought international success and the magnetic pull of New York City, Tapscott chose to remain in Los Angeles music and stayed firmly rooted in the Watts community, organising the long-standing Pan-Afrikan Peoples Arkestra and the Union of God's Musicians and Artists Ascension.

This musical and artistic collective was part of the larger Black Arts Movement that spread across the USA during this time - in similar fashion to African-American community arts collectives such as The Association for the Advancement of Creative Musicians (and Art Ensemble of Chicago) in Chicago, the Tribe collective of musicians in Detroit, Amiri Baraka's Spirit House in New Jersey, and The Black Artists Group in St Louis.

After Tapscott's debut album for Impulse Records in 1969, Tapscott and the Pan-Afrikan Peoples Arkestra recorded two albums with Elaine Brown, the only woman to lead the Black Panther party. 'Seize the Time - The Black Panther Party' also featured the artwork of Emory Douglas, graphic designer and Minister for Culture for the Black Panthers. Tapscott was closely aligned to the Los Angeles chapter of the Black Panthers, at one point working out of the same two-story building in South LA - while upstairs they planned revolution, stockpiled weapons and hosted revolutionaries such as H Rap Brown, Angela Davis and Stokely Carmichael, downstairs Tapscott ran the Arkestra, a number of which were also Black Panther members. Through this association and after the UGMAA building was raided in the Watts Riots, Tapscott was watched by both the FBI and the CIA and effectively black-listed from further recording sessions.

Despite this, throughout the 1970s Tapscott continued to create music as a community experience, performing and running workshops mainly at local parks and recreation events and in churches around the Watts area of Los Angeles. The group performed for free, sometimes requesting an entry fee of a food donation which was distributed to poor families in the area.

Tapscott's music remained undocumented throughout the 1970s. It was not until 1978 when a new record company, Nimbus West, was especially set up by Tom Albach, specifically to record the music of Tapscott, The Pan-Afrikan Peoples Arkestra as well as a number of solo projects by group members.

The music, ethos and influence of Horace Tapscott among Los Angeles artists is profound, McCoy Tyner commenting that in the 1970s there was no music coming out of LA that wasn't linked to Horace Tapscott and The Pan-Afrikan Arkestra. In the 1990s a new generation of artists took inspiration from Tapscott; The West Coast Get Down collective, including Kamasi Washington and Thundercat, was involved in similar processes of cross-pollinisation across the arts in South Los Angeles working with Kendrick Lamar, Pan-Afrikan Arkestra vocalist Dwight Trible, Flying Lotus and his Brainfeeder label and others.

'Our music is contributive, rather than competitive' HORACE TAPSCOTT

Originally released independently in 1979, this ground-breaking album is extremely hard to find and is issued here in glorious expanded form (triple vinyl and double CD) with a bonus track and with all its original striking artwork. This release will be followed next month by Horace Tapscott conducting The Pan-Afrikan Peoples Arkestra release The Call (1978), also re-released on Soul Jazz Records.