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Recorded in a New Orleans alley on a Sunday afternoon in 1951. This is a truly unique field recording of a Jazz band playing dirges intended as a soundtrack to the parade to the graveyard during a traditional New Orleans funeral. It's beautiful mesmerizing music and about as deep as it gets. The Eureka Brass band played hundreds of funerals - dirges to the graveyard and raucous joyous sounds on the way out. Here we have just the dirges. Some of the finest trombone, trumpet, sousaphone, clarinet, sax and drumming you're likely to ever hear. Songs include Fallen Hero, West Lawn Dirge, Garland of Flowers and Eternity. A co-release with Singasong Fighter records.

Previously unavailable, this unearthed 1968 BBC session contains markedly different versions from Garrick's 1970 classic 'Heart Is A Lotus' album.
A Londoner's rain-soaked riposte to modal jazz exotica, this long lost recording is already being hailed as an essential release.
The acid-rock meets psych jazz title track is a bona fide 60s classic.

12" 180gram 33rpm LP includes free download code sticker

Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was one of the first transatlantic meetings between leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness.

Brexit Jazz (the never ending story). A full spectrum Compost release from House to Hooligan-Jazz, Downbeat, Disco to Freestyle. Brexit Jazz are Roberto Di Gioia (Marsmobil / Web Web), Jan Krause (Beanfield) and Michael Reinboth (head of Compost).

He was the epitome of cool... the possessor of the kind of looks that usually only featured in the most elegant of Hollywood movies. He also played the trumpet in a way that transcended jazz boundaries, and won him countless admirers among those who didn't normally stoke their hi-fis with bebop sounds. This 3 LP set, featuring tracks cut during Chet Baker's peak years, illustrates that whatever the critics argued about in their various discourses regarding his vocal delivery, there could be no criticism of the material with which he became associated.

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

When Norman Granz brought two major jazz stars into the recording studio for the first time together in 1956, the results were never going to be less than enjoyable. Sure enough, the resulting album, entitled 'Ella And Louis', proved to be a highly popular release and has remained so decades down the line. To have supreme song stylist Fitzgerald in tandem with the man who virtually invented jazz singing must have been a dream ticket for impresario Granz who, in his lifetime, recorded nearly all of the musicians who helped shape the music. This amazing gatefold 4LP set includes the albums 'Ella And Louis', 'Ella And Louis Again' and 'Porgy And Bess'.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

Four Flies Records is proud to present the first vinyl reissue of the original soundtrack to IO EMMANUELLE (also known as A MAN FOR EMMANUELLE) - Cesare Canavari's 1969 erotic-drama starring Italian scream-queen Erika Blanc. The score was composed and arranged by maestro Gianni Ferrio, who created one of his most famous and iconic soundtracks ever, with music that perfectly follows the neurotic character of the young protagonist - from moments of intimacy and introspection, to those of insanity and madness. The result is a terrific cocktail of late 60's Italian grooves: orchestral beat, RnB, jazz, and avant garde numbers, with an essential contribution of I Cantori Modernidi Alessandro Alessandroni' (vocal and choir), and featuring Gino Marinacci on flute.

One of the rarest records from CAM archives is finally back in the spotlight, remastered from or iginal master tapes and pressed on 180gr vinyl, including an inner sleeve featuring original movie artwork by renowned Italian cinematic painter Sandro Symeoni.

Herbie Hancock Quartet, live on Soundstage, Chicago 1981.

The early 80s found Herbie Hancock experimenting with disco and pop in the studio, but on stage he continued to turn out stunning jazz performances, often featuring his 20 year-old protégé Wynton Marsalis on trumpet. This remarkable set on the American Live Concert Series, Soundstage, also includes the talents of his long-time collaborator Buster Williams on bass, and the legendary Tony Williams on drums. Originally broadcast on PBS-TV, it's presented here together with background notes and images.

'Sassy' Sarah Vaughan was a singer whose respect from fellow artistes was as great as her popularity with fans. No less a personage than Frank Sinatra once said, with tongue firmly in famous cheek, that 'Sassy is so good that when I listen to her I want to cut my wrists with a dull razor.' Vaughan certainly had the smoothest voice of her generation. What you have here is the real thing - original recordings with Clifford Brown, each exhibiting the unique voice that made Sarah Vaughan a major force in jazz music in a career that spanned nearly half a century. Her ability to swoop from a high note right down to the depths has been much imitated but never surpassed. Play, listen and learn from the best...

Limited edition, one-time pressing of 1500 for the world - comes with exclusive poster depicting a scene from Twin Peaks.

Written and recorded for the highly anticipated return of David Lynch's cult television classic Twin Peaks, Snake Eyes' effectively harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence. The instrumental trio Trouble includes Lynch's son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus Mother's Gone,' a menacing companion track also recorded during the band's only Twin Peaks recording session. There may never be any more music from Trouble, but this 45 serves as physical evidence of the group's continued existence in a parallel cinematic universe, grinding out late night Roadhouse gigs in the fictitious town of Twin Peaks, Washington.

180 Gram Vinyl LP Mono includes free hi-res download. This is a sensational previously unreleased live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders. Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on The Dreamer and Last Night Blues (it was the last night of the run). He plays the shenai - a kind of oboe - on Blues For The Orient, the xun - a Chinese flute - on Song of Delilah, and tenor saxophone on Yusef's Mood. The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way.

Though she had been performing professionally since the late 1920s, as a teenager in Harlem, during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather, and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Lady Love shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe.

Following the recent reissue of Jose Mauro's Obnoxius, Far Out Recordings presents the second release in the treasure trove of the Quartin catalogue, Victor Assis Brasil Plays Jobim.
Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxious. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Unlike Jose Mauro, whose biography is almost completely shrouded in mystery, Victor Assis Brasil's tragically short life is a better known story. He passed away aged just thirty-five, but by this point his status was already cemented as one of Brazil's top players. Gifted his first saxophone by his aunt at the age of fourteen, his debut LP was recorded just four years later, alongside some mercurial greats of Brazilian jazz, Tenorio Jr and Edson Lobo. Following the release of his first two albums, Victor was granted a place to study at Berklee College of Music, and it was during this period he recorded toca antonio carlos jobim upon returning to Brazil in the summer of 1970. At a time in Brazil when the smooth n' easy groove of the bossa beat no longer reflected the inflamed politics of a nation under the cosh of military dictatorship, Victor Assis Brasil morphed Jobim's soothing originals into raw, deep jazz cuts, with the help of Brazilian legends Edison Lobo, Helio Delmiro and Edison Machado. The album's influences spans both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights.
Like all Far Out reissues, the album has been remastered from the original tapes, and pressed to high quality heavyweight vinyl. A second Victor Assis Brasil release Esperanto will appear later in the series, alongside another Jose Mauro release A Viagem Des Horas and Piri's long forgotten gem Vocês Querem Mate

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorise yet compellingly beautiful, have for too long gone unheard.Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970.Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging latin-jazz cover of Jimmy Heath's 'Ginger Bread Boy', alongside more moments of wild frenetic jazz, like 'Quarenta Graus A Sombra', amongst more melancholic, but no less captivating compositions like 'Marilia' and 'Ao Amigo Quartin'. Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass).Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history.

- 180g Vinyl
- First-ever 180g vinyl reissue
- Pressed at QRP
- Lacquers cut by Kevin Gray at Cohearent Audio
- Old-school style tip-on jacket
- Jazz Dispensary "Authorized Dealer" window cling

A sublime, expansive spiritual jazz-fusion masterwork led by Joe Henderson (tenor sax) and Alice Coltrane (harp, piano) with contributions from Charlie Haden (bass), Leon "Ndugu" Chancler (drums), Kenneth Nash (percussion), Baba Duru Oshun (tabla) and Michael White (violin). Equal parts celestial, fiery and trance-inducing in nature, The Elements delivers a supremely transcendent musical message.

Featuring 180-gram vinyl pressed at QRP from lacquers cut by Kevin Gray at Cohearent Audio and housed in a single-pocket old-school style tip-on jacket, this is the first-ever and definitive reissue of Joe Henderson and Alice Coltrane's sprawling spiritual-jazz opus. An essential listen addition for all fans of adventurous music.

Musicians:

Joe Henderson, tenor sax, alto flute, flute

Alice Coltrane, piano, harp, tamboura, harmonium

Michael White, violin

Kenneth Nash, congas, North African sakara drum, Chinese, African and Indian bells, gongs, percussion

Charlie Haden, bass

Baba Duru Oshun, tabla, percussion

Ndugu (Leon Chancler), drums (on "Fire" and "Earth" only)

The first release by Britain's most enigmatic and unclassifiable band. Formed in 1968 by two Cambridge students, Fred Frith and Tim Hodgkinson, Henry Cow's original influences included the likes of Soft Machine and Frank Zappa. The band was staunchly anti-commercial, never compromising their sound to please anyone but themselves, and it is precisely because of this that they have gone on to influence so many musicians on the outer fringes of rock & roll on both sides of the Atlantic, particularly the NY experimental music scene.

By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobimand the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave. Includes bonus CD of entire album.

From Philadelphia beatmaker Knxwledge has been bubbling beneath the surface in the virtual world. Making his name via Myspace, global mixes spinning around the world and with a Mary Anne Hobbs mix & plays from Benji B already under his belt hes ready to step up to the plate in 2010 with his first solo release. 15 tracks here of varying rhythmic structures, lengths and speeds which go way further than mere beats and snippets. Sloppy, on beat and off its all thrown in the beat blender. Tip!

Ian Finkelstein is a jazz pianist and producer. He has been an active member of the Detroit jazz community since the age of 14. A student of Geri Allen, he performed with Marcus Belgrave from 2010 until Belgrave's death in 2015. He currently performs with the Robert Hurst Quintet, and is a founding member of Detroit music collective Video7. Ian self-released his first album of house music It's Time in 2016. His keyboard work can be heard on tracks by Scott Grooves, Omar-S and Shigeto among others. He is a regular member of Scott Grooves' Overdubs. Middle Birth EP highlights Ian's dual talents as a producer and instrumentalist. Side A features two electronic cuts, Middle Birth' and Mort Crim' with Ian playing live drums and bass on the latter. SIDE B showcases Ian's jazz quartet, he is joined by several of Detroit's most talented young musicians: Marcus Elliot on sax, Ben Rolston on bass and Alex White on drums.

Includes a download card to WAV files of the entire album and a digital booklet.
World's Experience Orchestra's first album was recorded in and around Boston, in the mid 1970s and committed to vinyl in miniscule press runs by a visionary, bassist/ composer / arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz's ancient lineage in a manner so profound that his late-'70s album are out of time with jazz's trajectory, but timeless when presented today. By the late '90s the music of World's Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald Jazzman' Short and Gilles Peterson, who played The Prayer' for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. Peterson first offered to reissue The Prayer,' as part of an anthology he was putting together with Los Angeles reissue label Ubiquity Records and that, to date, is the only official issue of any of Jones' music. I knew it was going to happen, but I didn't know when,' says Jones of the road to seeing his music re-issued. It's 35 years or more now, and I've been waiting for this, and I'm quite sure I'm not the only one.'

2017 Remastered and fully authorized edition !
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On the original 1965 The Magic City LP, issued on Saturn, the monster 27-1/2 minute title track sprawled across side A. Ra customarily supervised the Arkestra's improvisational process via keyboard cues or hand signals. He was always in charge—hence critic Simon Adams describing the title track as "27 minutes of controlled freedom." "The Magic City" was never performed in concert, saxophonist John Gilmore said it was "unreproducible, a tapestry of sound." Although shorter in scope than side A's magnum opus, the four works on The Magic City's flip side reflect the same improvisational approach, spatiality, and lack of structure.
One session outtake, "Other Worlds," an alternate version
of "Shadow World," is included as a bonus track on side B.
First-generation Saturn pressings of The Magic City were monophonic. A full stereo version had been issued on Sun Ra's Thoth subsidiary label sometime after 1969, however, it suffered from a technical flaw that prevented many copies of the LP from tracking cleanly through the first cut on side B. A 1973 gatefold LP reissue on Impulse featured reprocessed stereo. For this definitive reissue, Cosmic Myth Records used stereo sources which are superior to the Thoth pressing.

For this definitive edition, historical and technical notes are provided by noted jazz historian Ben Young, who restored and remastered the album with his Triple Point Records partner Joe Lizzi. Both men have been recognized for their extensive work on the Grammy Nominated Albert Ayler boxset, released on Revenant records in 2005.

Cosmic Myth Records issues recordings under license from Sun Ra LLC. The series is being co-produced and supervised by Irwin Chusid (Raymond Scott, Esquivel, Langley School Music Project) and Michael D. Anderson, who maintains the Sun Ra Music
Archive, the world's foremost collection of original Ra session masters.

Collecting recordings made between 1953 and 1956, Miles Davis Plays For Lovers is a look at the more sensitive and sensual side of the great trumpeter, focusing on his sultry and smoky late night ballads. Mostly featuring his legendary mid-50s quintet of Coltrane, Garland, Chambers, and Jones, this collection highlights that groups ability to slow things down to a soulful, brilliant simmer. Classic jazz ballads that swing, perfect for late nights with a lover at your side.

Jazz classic alert! Reissue from this soul/jazz-funk fusion album originally released in 1982 on Poet Records. 500 copy LTD edition!

Soul Jazz Records' new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit
possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, 'Voodoo Drums', featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums. "I haven't heard anything quite like this, the rhythms are very deeply orchestrated yet it also sounds
like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!"
Guardian In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin. "This record, which consists entirely of recordings of vodou drumming made in Port-Au-Prince, is one of a series of Soul Jazz releases exploring Haitian music, all of which are worth your attention. Nonetheless there's something about the intensity and virtuosity of this particular drums-based album that's particularly transportive. It captures the extraordinary complexity and sophistication of these ceremonial rhythms, which shift, interlock and switch angle of attack with a logic that's near-indecipherable as a listener unable to see visually how they unfold.
These drum rituals are central to Haitian vodou, their power to awe and mesmerise isn't dimmed through being relatively unfamiliar with the traditions that underlie them, these recordings are dynamic and riveting in their intricacy and power." Quietus
Like the first album, these new recordings somehow manage to walk the line between serious ethnological authenticity and a connection with the energy and intensity of the dance rhythms of
techno and house music that make them quite unique:
"Soul Jazz yet again come correct with the roots and culture. This amazing set of ritual breakbeats Haitian style has to be the most phenomenal, left field battle breaks album you could imagine. The rhythms used cause spirits to manifest themselves in the physical world, all powerful, some benevolent, others less so. Enjoyable and really quite mind expanding, this is recommended to
anyone who thinks traditional music is not for them. Really unparallelled, both in terms of quality and the competition." Boomkat
This album is released worldwide on heavyweight double LP + download code, deluxe CD and digital album.

Drummer/producer Teppo Mäkynen (of Teddy's West Coasters, The Stance Brothers, The Five Corners Quintet) presents his new major work during the fall of 2017. 3TM is a trio formation including Mäkynen, tenor sax man Jussi Kannaste and bassist Antti Lötjönen. Mäkynen, manning the drum seat in the combo, is using samples and sounds here to break off from the standard aural image of the jazz trio. What we have instead, is a new world of sound rooted somewhere in between acoustic jazz and abstract electronic music, blurring the lines of genre and time.

The CD and 2LP editions of the album include a source book featuring photos taken by Mäkynen. These images serve as the visual roadmap into the world of 3TM, at times abstract and spacious, at times intense and swinging.

Tape version comes with digital download.

Drummer/producer Teppo Mäkynen (of Teddy's West Coasters, The Stance Brothers, The Five Corners Quintet) presents his new major work during the fall of 2017. 3TM is a trio formation including Mäkynen, tenor sax man Jussi Kannaste and bassist Antti Lötjönen. Mäkynen, manning the drum seat in the combo, is using samples and sounds here to break off from the standard aural image of the jazz trio. What we have instead, is a new world of sound rooted somewhere in between acoustic jazz and abstract electronic music, blurring the lines of genre and time.

The 180g heavyweight 2LP version of the album comes with gatefold sleeve, digital download and 12" source book featuring photography by Teppo Mäkynen. These images serve as the visual roadmap into the world of 3TM, at times abstract and spacious, at times intense and swinging.

Maestro Bruno Zambrini's soundtrack masterpiece originally recorded for the the TV series "RACCONTI DI MARE" in 1970, directed by Nestore Ungaro. Mental Vintage Underwater Score, one of the best from Library/Soundtrack music production. Music is a total trip with insane Psychedelic and Underground beats to die for, killer drum breaks, acquatic Lounge & Bossa themes and huge Underwater drama moods. The loungy atmospheres remind of sea trips nostalgia with the flowing sweet scat vocals broken by the spaced-out Underwater marine vibes. Unmissable Italian OST!

Taking a tiny break from the vintage sounds of his stunning La Sombra album, Chip Wickham lets his hair hang down with surefire floor filler 'The Beatnik'. Funky wah-wah guitar licks, an uptempo breakbeat and his signature transverse flute give the tune an impetuous feel - the perfect soundtrack for a high-speed car chase.
The flipside is not quite as stormy. In fact, 'Rebel No.23' is a return to the jazz grooves of his debut album, or indeed a taste of what's to come on his followup album, slated for release in 2018.

Following on from our extremely well received re-press of Pasteur Lappe's second album "Na Man Pass Man" here at Africa Seven we are really pleased to be heading back to the beginning with Pasteur. It is a another fine repress. The debut album "We, The People".

The story begins in the 60's with a charming 19 year old Nicolas "Pasteur" Lappe becoming a sensation on Radio Adele in Douala, Cameroun. He goes on to become the editor of the Douala Gazette newspaper and become friends with other African music stars such as Tala AM, J Moboule and Fela Kuti. He also works tirelessly promoting new and upcoming local Cameroonian talent. After moving to Paris, a stint in journalism school and publishing a book of poems "Chansons Negres" he finally settles into a new life of music in Paris.

Pasteur's first album was recorded in 1979 with the backing band and production collective called the Zulu Gang, which include Douglas Mbida (who went on to release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The album is full of diverse sounds, from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin' soul. At its core though is the custom "Sekele" groove... a movement to encompass the dance, grooves and vibes from his native Douala.

The album opens with the pulsing grooves of "More Sekele Movement" which features driving bass groove, snappy percussion and catchy vocal lines from our hero. "Dora" is next. It is a sparkly Afro pop gem with stabby horns and a smooth catchy melody.

Things take a slow route for the next track - "Watch Get My Day Dreams" which is a slow smooth vocal number. Lazy Rhodes and a end-of-the-disco sway. It also features Maryse Lappe guesting on vocals. Things heat up on the flip with "Sekelimania (Nku Bilam)" bringing back the funk. Choppy guitar riffs, percussive clavinet and top-of-the-world horns power this smooth power funk along.

Next "The Sekele Movement" keeps the horn department busy with its Afro swing drums, walking bass lines and funky keys. This track was featured on the recent Analog Africa - "Pop Makossa" compilation. A real find. The album closes with a slow and forlorn love song. A partly spoken, partly sung love song which talks of separation and longing. The perfect thoughtful ending to a fine LP.

The nostalgic poet, with Africa at his essence Pasteur Lappe.

(2017 REPRESS/REMASTERED)

A Tribute To Sun Ra" & "Latino In Cairo". This record represents The Cairo Jazz Band responding to the American Jazz scene of the 60s & 70s with influences from Mongo Santamaria to Randy Weston and Sun Ra. These tracks were first presented by The Ministry Of Culture in Cairo as a Prism Music Production and released with an additional disk by the composer Soliman Gamil Musical Images. This release marks the first time Salah Ragab and The Cairo Jazz Bands definitive works are presented to the west. Salah Rageb R.I.P

A follow up to their 2015 debut with Ninja Tune, Richard and Sheila Ellis' sophomore effort, The Cleansing,' exists in the folds, shaking the categorization of a single genre or label by casting echoes of Billie Holiday and Antonio Carlos Jobim atop opaque shades of Debussy and Edgar Allen Poe. Elements of Jazz and Bossa Nova, accented by striking vocals and enigmatic spoken-word poetry, display a command of the power of contrast. Steady repetitiveness of the instrumentations throughout the record anchor haunting, and often winding, vocal melodies, lyrical themes revolve around both optimistic abstraction and stark reality. These juxtapositions are reinforced by the dual nature of the album itself: Side A, Shades of Reverie, is driven by a sense of hope plucked into existence by embers of acoustic guitar, while Side B, Tones of Clarity, is best defined by dramatic, Bernard Hermann-esque orchestration and soaring vocal performances. While the casual listener may be (understandably) distracted by the graceful marriage between instrumentation and vocal cadence, each song holds its own poetic merit. Singer and lyricist Sheila Ellis' masterful penmanship develops a crucial dimension to the album, rendering Cleansing' a deeply personal, outwardly introspective listen. Spanning thirty-eight minutes over eight compositions, the entire record is a warm, bold stroke on an aural canvas, effortlessly moving through embracing melodies and divine soundscapes.

1956's Pithecanthropus Erectus is the Charles Mingus record where he really begins to take hold of his own personal vision of how jazz music could look. After cutting his teeth on the L.A. scene and touring with Louis Armstrong and Lionel Hampton, Mingus moved to New York, began Debut Records with Max Roach, and entered into the most productive and creative decade of his career. This album is held in the same esteem as Mingus Ah-Um and The Black Saint And The Sinner Lady among jazz aficionados, and one need listen no further than the 10 minute title track, a tone poem about the rise and fall of man which includes one of the earliest free jazz / improvisation segments put to tape. Absolutely essential jazz from the late great Charles Mingus on Wax Love.