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A solar flare of cosmic sounds heralded the rising star Sun Ra when the pianist, composer and band leader first shone over the musical landscape in the 1950s and 1960s. He caused quite a stir with innovative albums that introduced electronics, special effects and unusual arrangements into a jazz world that sometimes slid into comfortable conservatism, despite its radical roots. This comprehensive collection of the best recordings from the formative stages of his career, enables the listener to hear with fresh ears the legendary Mr. Ra's unique contribution.

The Year of the Rooster is upon us... It was a hot winters day in Miami, Scone along guitarist Jason Joshua and drummer, Eddie Garcia built a studio by hand with a mirror on the ceiling. Together they put the current issues in their lives and focused on making the grooving-est, Funkiest & most tragic Hammond Organ music ever. This time around they recruited sax master Ian Hendrickson-Smith from the legendary The Roots &
Sharon Jones & The Dap-Kings, Also joining them is the elusive master percussionist Jose El Gavilan' Pena. Take an organ driven soulful ride with The Scone Cash Players.

Scone Cash Players are currently on their US tour return with
Ian Hendrickson-Smith from The Roots for this organ soul
heater Catch Adam Scone on tour in Europe with The Sugarman 3 (Daptone Records)

Los Propios Bateros began as a quest to discover a common Colombian rhythm pattern that could connect music from all over the Americas. Spearheading this experiment is prolific drummer and percussionist Pedro Ojeda (Romperayo, Los Pirañas, Ondatropica), who has spent years researching popular rhythmic styles preserved on the bounty of recorded Colombian treasures dating from the 1950s, '60s and '70s — treasures that have, outside of a burgeoning new generation of collectors, mostly been poorly preserved and ignored by the general public. Ojeda has documented this quest on a feature length film produced in tandem with Estudio Elgozo, shining light on many of the Colombian drum masters (the propios bateros) that are still alive, including Guillermo Navas, Plinio Córdoba, Germán Chavarriaga, Wilson Viveros and Juancho Cuao among many others. The production of the documentary serendipitously led to the most fabulous of recordings, presented on this single by Names You Can Trust, when the great Guillermo Navas and Germán Chavarriaga, as well as Ojeda himself and an all-star cast of younger generation musicians, assembled for a jam session in Bogotá. These two studio recordings are master classes in Colombian descarga and pompo, loose and improvised jams with a seductive, seasoned groove and flavor that is unmistakably Colombian, and inherently timeless.

'Malik' is an unreleased song that was recorded in the early 1980s and features legendary percussionist Bill Summers amongst the players. The sprightly jazz dancer keeps the pressure high with a strong lead which culminates with a series of male and females harmonies to die for at the end. For the first time ever 'A Fool No Longer' is now available on 7" vinyl after originally being included on a German rock compilation in 1981.

This is available for pre-order and is a Love Vinyl DRS Ltd distribution title.

- Numbered limited edition of 500 units

Jazz pioneer Clark Terry aka Mumbles' has been one of the most original trumpet players of his generation. In his long lasting career he has been collaborating with people of the likes of Quincy Jones, Duke Ellington, Count Basie, Charlie Barnet, and Oscar Peterson. As told by the artist himself Serenade to a Bus Seat is a kind of autobiographical album, the bus is indeed the metaphoric image of the life of the jazz orchestra in constant movement. On this LP, Clark Terry comes into his own. It does not seem exaggeration to say that a few more like this will establish him as a truly major jazz figure.'

Freddie Hubbard was one of the most prolific jazz trumpeters in the business. He played a hot and sassy horn! When he was teamed up with George Benson, Jack DeJohnette and Ron Carter (just to name a few) on this one of many Creed Taylor-produced collaborations, he most deservedly won the Grammy!

The opening title song "First Light" has an ethereal beginning with a diverse arrangement. An unusual arrangement of Paul McCartney's "Uncle Albert/Admiral Halsey" is most satisfying. Henry Mancini's "Moment To Moment" has a hauntingly sweet sound. "Lonely Town" is darkly complex.

There are many sides and moods to each of the songs within this original work. With stylish jazzy rhythms and rich orchestrations, this is THE Freddie Hubbard album to have!

By Beverly Praiswateron

- Numbered limited edition of 300 units
- Bonus Track included

With a group of musicians assembled for the occasion, pianist/composer/theorist George Russell goes into Riverside's studios in 1960 to record Ezz-Thetics. Nowadays frequently found on greatest jazz albums' lists, this fantastic record is difficult to categorize and that's for the best. Exacerbated be-bop, modal concepts, hardbop and even hints at burgeoning free-jazz give this opus a unique and enchanting sound. Success always has many fathers. On one hand the compositions are remarkable, the four from Russell unfold with a surprising phrasing that avoids well-trodden paths. Miles Davis Nardis' is beautifully rearranged and Dave Baker's Honesty' adds a bluesy touch that doesn't hurt the overall cohesion. On the other hand you've got the soloists. Baker isn't afraid to play fast and precise on his trombone, Don Ellis displays his effects but above all Eric Dolphy who already steals the show with his alto solo on the first track. And if all that wasn't enough the album closes on one of the best version of Monk's classic Round Midnight' where Dolphy just dominates and proves his style also works on ballads (from AllMusic)

PLUS TWO BONUS TRACKS! This is an ancient Blue Note rarity recorded at Rudy Van Gelder's legendary studio in 1956 with legendary bass man Paul Chambers doing the deep notes. First press originals in adequate condition go for about 500 Euro. So what does this sextet featuring trumpeters Donald Byrd and Lee Morgan with tenor saxophone hero Hank Mobley as bandleader and piano madcap Horace Silver backing the rhythm section with his extraordinary chord progressions have to offer The album is widely labeled as hard bop' and it shows a great development from the mid to late 1940s bebop scene where John Coltrane, Charlie Parker and other now mystical protagonists brought the swinging dance music of the even older big bands to a new level of sophistication and still maintained an earthy and highly spirited atmosphere. Same goes for the hard bop and post bop scene of the later half of the 1950s from which finally modal jazz and free jazz emerged within the wink of an eye. All four lengthy compositions on this album are still one step behind the next level and show a playfully jamming band executing comprehensible harmony lines backed by tricky yet enthralling grooves that in the end move straight forward despite the rhythm section playing mostly around the pulse. The duels of both trumpets and the tenor sax heat up one's soul as they are aligned with the racy rhythm patterns. The melodies themselves are quite cheerful and cool. When Paul Chambers takes the bow in one passage of the fourth tune Mobleymania' and scratches some cool lines backed up with an everflowing drum pulse nobody may sit still. All six musicians here are fairly well connected with each other in terms of playing tightly to what the next improvises. Especially Mobley burns with every note he plays and if you bushwhack through to the core that carries the steaming dialogues between trumpets and saxophone you will find some maniacs building rhythmical patterns par excellence. This album certainly demands many spins before you will be aware of every beautiful detail. Indeed a classic of 1950s jazz aside from the greasy mainstream sound. Let's go wild with Hank Mobley, Donald Byrd and Lee Morgan.

- 180 GRAM AUDIOPHILE VINYL
- HIGH QUALITY PVC PROTECTIVE SLEEVE
- GATEFOLD SLEEVE INCLUDING INSIDE LINER
NOTES
- A GREAT SELECTION OF HITS AND TRACKS, FEATURING LOVE GAMES', HOT WATER', RUNNING
IN THE FAMILY', LESSONS IN LOVE' AND MANY MORE
- LIMITED PRESSING OF 750 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT GREEN VINYL

In the early eighties Level 42 started out as a jazz-funk fusion band in the United Kingdom, formed by Mark King and the Gould brothers (Phil and Rowland). During
the Brit Funk era, they met up with Mike Lindup and Wally Badarou (who would become a fifth member in all but name) and recorded their first single Love Meeting Love'.

Their follow-up Love Games' cracked the UK Top 40 and had success in Europe. What followed was a string of minor hits with The Sun Goes Down (Living It Up),
Hot Water' but the big breakthrough was with Something About You' in 1985.

The single was Level 42's first American hit, and would do well on both sides of the Ocean. The band carried on delivering hits through their funky, jazzy songs with
finger popping good grooves and infectious rhythms.
During the following years up until today, Level 42 are recording records and continue to tour the world, although in a slightly different line-up.


The Collected double vinyl album contains a selection of their songs from the earlier years of Starchild' up until Tracie' and Take A Look'.


These tracks, specially remastered for vinyl, are exciting, standing the test of time,delivered by a timeless band.

This album is made of six numbers from the famous Town Hall concert of 1947, plus offerings from four others, which if not perhaps quite so famous are nevertheless all more than worthy of your attention. Armstrong's playing in these days was something to marvel at, and his presence a vitalising effect upon any musicians who teamed up with him. Teagarden never played or sung better than he did here (St. James Infirmary to note), but nor for that matter did Bigard. Vic Dickenson, Johnnv Hodges, or any of the other musicians who haunt these tracks. The standard throughout is very high, but no one, however well they play, can approach the brilliance of Louis as he soars into his first chorus on Misbehavin' with the control and majesty of a seagull on the wing. Teagarden plays well enough on this track, but sandwiched between Louis' solo and a fantastic lead-in to his final chorus, he sounds almost dull by comparison. Save It, Pretty Mama is another tour de force, with Louis playing a solo that is supreme for tightness, and relaxation. The two tracks with Duke are full of interest. Hodges blows beautifully. Duke plays some pleasant piano on Journey, and Pops comes on with a blues vocal which is quite inimitable. Snafu, a boppish kind of tune, doesn't suit Louis quite so well, but as usual he can dig his way out of any situation with his horn. Little Girl and Mahogany Hall feature a much more basic beat and Louis plays in a style much nearer New Orleans than was usual in these days. Ory takes a splendid chorus on the second named tune, and the work of both drummers is exceptional.

But everything is good and Armstrong's work so consistently brilliant and vastly entertaining, that it is a set you must not miss on any account.

By Sinclair Traill

Even half a Mal is more greatness than many people out there could take. Mel Waldron was another 1950s master of hard bop jazz and finds himself in illustrious company on his 1957 debut album. John Coltrane and Sahib Shihab are masters of tenor and alto saxophone and jazz freaks break into a sweat of joy when they hear these names. Coltrane alone could be a reason to fall in love with this record. You can always hear his very original kind of playing the tenor. No wonder that first pressings of this gem of an album go for 250 USD and even more in fine conditions. It might be a lesser known participation of the great John Coltrane with another bandleader but as he glows permanently on this album the rest of the musicians do the same. The band goes full throttle when needed but there are also thought provoking slow tunes generating an atmosphere of melancholy when Waldron makes his piano sing a dark ballad while the drummer barely stands out and just backs up the whole composition with a low key beat linked to the equally reluctant bass line. Trumpet and tenor come in play after a while to moan wearily on top of that reduced rhythmical pattern. Dark and smoke filled bars in a nameless American metropolis are exactly, what associate with these haunting melodies. And out of a sudden the band gains pace and the whole atmosphere becomes more and more cheerful. The grooves are swinging and good for a dance or two. The leading instruments alto sax, tenor sax and trumpet chatter frolicsome like a bunch of youngsters on a night out in town. These changes of atmosphere are one of the strong points of this record. Another is the overall tight interplay of all instruments. These cats were hard-nosed veterans of the jazz genre taking the 1940s dance club sounds to another level. Bebop turns into hard bop and this album shows the dignity in such a crystal clear way.

Sarah Vaughan signed for Columbia in 1949 & her chart successes continued with the charting of "Black Coffee" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success.

No matter what she's singing you can't help but notice her amazing control and range. She's able to float effortlessly from the lowest end of the scale to the highest without effort. Her singing is as much second nature as breathing is to most of us.

I don't know if you've ever heard the term phrasing applied to singing, it's not something you hear often anymore. To be honest it's not something I'm sure I can define. The closest I can come to is it refers to a singer's ability to associate the lyrics of a song with the music. However, it means more than just being able to carry a tune. It's how you sing the words and music together. It's the ability to turn your voice into a lead instrument in a band and take one word and extend it over a whole series of notes. However it doesn't just mean the ability to sustain a note, it's continuing to sing the melody but with only one or a few words without them losing meaning or throwing the continuity of the song out of whack.

Listen to Vaughan wrap her voice around a word and you begin to understand what is meant by the term. You also realize why you don't hear the term used very often anymore as very few modern singers have this ability. To be fair the music of today doesn't really lend itself to that style of singing either. However hearing a singer of the quality of Vaughan you begin to regret its passing. I'm sure there are jazz singers around who have the ability, but we don't hear them on a regular basis.

Of course it's this ability which allowed her to be equally comfortable with any style of music she wished to sing. On this LP we hear her sail through a series of smoothly orchestrated pop tunes. Even the version of Gershwin's "Summertime" is given the uptempo treatment. This might have been a collection of rather commercial standards, but she gives them a soulfulness that raises them above the level of just another pop song. She might not be as emotionally raw as Billie Holliday, but that doesn't stop her from being able to imbue even the simplest of songs with the heart necessary to make them soar.

By Richard Marcus

This record has first been released in 1956 as Byrd jazz' with Donald Byrd as declared band leader but there were several versions of it over the years. The last reissue has been about three decades ago and so it is more than time to go for another fresh print of this back row classic of the 1950s jazz scene. On these recordings we get some floating and grooving hard bop with an ever pulsating rhythm section, dueling tenor sax by Lateef and trumpet by Byrd plus solo slots for bass, drums and piano. The leading instruments generate a cheerful atmosphere and make this live album a blissful experience for every lover of the mid 50s hard bop sound. The passion of the musicians grabs the audience immediately and when the melodies pour out of your speakers you will be captured as well by this pure essence of jazz. Far from later modal and even free jazz monoliths these catchy tunes are quite easy to follow. The band is tight and this is a great advantage. Every note, every beat of the drums sits in the right place as if they have always been there and just had to be made audible by the band. It is indeed like the sculptor who already sees the glyph within the block of marble and just sets it free. The music plays itself through the instruments. Haunting and relaxed passages, cool melodies put into memorable structures. A classic among the hipsters and beatniks with their goatbeards, metal-rimmed glasses and berets drinking, tripping and philosophizing to the sound of this and many other albums that were made from jazz aficionados for their kind.

Supreme MPB/bossa-nova vibes here on both tracks from our leading Brazil 45's lady, Claudia.
'Diexa o Morro Cantar' features on Claudia's very first 7', relaeased in 1965 by RGE Brazil.
Claudia's version 'Mas Que Nada' is more of a jazzy, folk-funk take on the Ben classic. A relatively recent discovery made during our last trip to Brazil.

Gritty & raw tight funk breaks, with Hammond organs, electric pianos, exotic instruments, razor sharp guitar lines & nasty thick bass lines. All recorded live to tape with vintage tube studio gear.

This record is a collaborative between MarQ Spekt and experimental, proto-new wave musician Gary Wilson (Stones Throw). It's rare that you get the opportunity to work with the actual artist rather than just sampling his records. Gary opened his vaults and provided sample soundscapes. Some of these instrumentals date back to 1973 and may have been heard before. Others may not. The ending result is a pure creative expression and meshes Hip-Hop, Psychedelic, Jazz and Funk. Soak up the vibrations and enjoy! This is the kind of idea that makes you enjoy the fringes of rap more than what's in the spotlight. With that said, Broken Mazes' sounds

weirder on paper than it does in the headphones. Gary Wilson is an awesomely strange dude with some outré music under his belt, but for this project Spekt wisely sticks with the more accessible sides of Wilson's catalog. It's all breezy jazz-funk with some vague psychedelic touches for extra oomph, a wide-open field for Spekt to run his free-flowing bars. The result is relaxed and enjoyable, if at times a bit unfocused - kinda like a good open-ended improve session by a talented jazz band.

Hiroshima JAPAN based records label "Eurasian Suite" would be released their first 7inch 45 .

Koichi Ozaki who organized Eurasian Suite from 1990s has already released five 12inch records in Europe.

His songs often play in European radio program ( i.e. Gilles Peterson - BBC World Wide) and contained in European compilation CDs.

This 7inch record contains " Wayo Secchu " (means: the way in which Japanese style and Western style are blended together) Jazzy break beats and highly recommended for interlude for midnight.

Ugly Papas were one of the leading acts in the Belgian rock
scene in the early part of the 90s. 23 years after their final release, they are back with their third full-length album.Feisty indie rock, jazzy loops, Zappa-esque episodes and Fela Kuti rhythms. With Luc Dufourmont (Two Russian Cowboys, ID!OTS, Bevergem) on vocals.

After two hip-hop albums (Got To Get Down in 2016 and Impact in 2017), the unpredictable Afro Latin Vintage Orchestra comes back to its fundamentals with a new instrumental album:
MORPHEUS which repositions the band in the spirit of their previous spatial, almost cosmic albums Last Odyssey (2012) and Pulsion (2015), both released on Ubiquity Records and acclaimed by spiritual and fusion jazz lovers, library music fans, as well as rare grooves diggers (ALVO's first 4 vinyl albums now being out of stock).
Each new ALVO new release is a millesimal which evolved and learned from its predecessors.
Masta Conga, who's still leading the herd, has for main purpose to explore the musical space-time, gaining ground on never before revealed tracks, followed by his now faithful team of atypical and
farseeing musicians.
Compared to Miles Davis and his On The Corner by Wax Poetics, the band dives again in this realm of psychedelia and beyond', in particular with the contribution of Indian musicians. Twirling
around violins, superimposed patchy keyboards and effects, just as if their conductor wasn't already sufficiently influenced by Pierre Boulez and others such as Hiroshi Murakami... The result is however more uncluttered and loaded with multiple vibes than its predecessor Pulsion, which already carried the ceremonial characteristics of cult movie soundtracks. Tracks Moksha',
Air' and Morpheus' are the perfect demonstration, and far beyond their names. Simple grooves, lunar, but terribly efficient, emphasized by a mix that puts focus on these fiddly contributions of ethnic instruments, on percussions and horns on a drip of delay, reverbs and other space-echoes.
On the other side, the very rhythmic Descarga Uno', Descarga Dos' and Super Dopamine' show that the Parisian crew hasn't lost its good habit to look around latin, ternary, and syncopated
rhythms, in the ALVO only style! A new millésime, a Grand Cru maybe, but for sure to taste and appreciate in all weathers including space ones.

Bob Dylan recently released Triplicate, his third collection of pop standards. Like Dylan's earlier albums, Shadows in the Night (2015) and Fallen Angels (2016), most of the songs have an association with the great Frank Sinatra.

This double LP presents Frank Sinatra's versions of many of the songs Dylan sang in these three forays into the Great American Songbook. Orchestras accompanying the iconic singer are led by Nelson Riddle, Gordon Jenkins, Billy May, Alex Stordahl, and Tommy Dorsey, among others.

Dylan once related this about an encounter he had with Ol' Blue Eyes: He was funny, we were standing out on his patio at night and he said to me, 'You and me, pal, we got blue eyes, we're from up there,' and he pointed to the stars. 'These other bums are from down here.' I remember thinking that he might be right.'

The second release of secret SWAT manoeuvre's from the US of A ! After the instant sellout DJ Nature 12", SWAT come through with a devastating & loving homage to The Basement Boys' and Amiri Baraka's 2001 jam "An American Poem"
Malik Ameer is a veteran M.C. in the experimental Rap/Jazz scenes of California and NYC. Ameer is also an internationally published poet with five books of poems to his name, he hosts and curates 'Poets Live' in Paris, France and is the editor for several literary journals based out of New York City.
Houston born, Manhattan based Leron Thomas is a critically acclaimed writer, artist, and trumpeter who has worked with many household names from a variety of genres including Michael Stipe, Lauryn Hill, Bobby Watson, Roy Hargrove, Bilal and Mos Def, to name but a few. From 2004 onward he has developed his genre-crossing music incorporating singer/songwriter, Jazz, Funk, Electro-pop and Rock, releasing nine solo artist records championed by the likes of Gilles Peterson etc.
Malik is a longtime friend and production collaborator of Leron, as well as lending his emcee skills to both Thatmanmonkz' solo work, and their collaborative Hip Hop project 'Madison Washington'. 'Amerikkan Poem' was recorded in Sheffield, Paris, and New York. Super limited US imports - blink and you'll miss 'em.

1500 copy LTD release ! Bro. Valentino, Anthony Emrold Phillip, began his illustrious career in 1961 at The Big Bamboo, a minor calypso tent in Port of Spain, Trinidad, before breaking into the professional scene in 1966 at the Lord Kitchener's Caravan calypso tent. After the Black Power revolution of 1970 he transformed into a calypsonian with a conscience and a consciousness who sang on behalf of the poor and downtrodden and was dubbed "The People's Calypsonian". His commitment to lyrics of education, elevation and African consciousness has been his identifying badge and signature.
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At the end of the heady decade of the tumultuous 1970's, with the echoes of the Black Power revolution of Trinidad still strongly reverberating, Valentino penned his two most commercially successful calypsoes, 1979's "Stay up Zimbabwe" and 1980's "Ah Wo (Brand New Revolution) both reflections of the revolutionary spirit which had engulfed the Caribbean in the 1970's. 1979 marked the historic date of the Maurice Bishop led Grenadian Revolution and as if to herald this auspicious event Valentino would make it all the way to the coveted national calypso monarch finals with this anti-apartheid anthem.

But there was another rhythmic element, the Shango / Orisha blend, which on many an occasion at Valentino's pubic performances, would make audiences, as Trinidadians say locally, "catch the power".

Sadly, thus mega hit, did not translate into financial gains for Valentino. He laments "to know your biggest song internationally you never get the immediate returns. The most I get from 'Zimbabwe' was mileage".

One year later Valentino again stunned the world with a song which revelled in the new-found fame of the Caribbean, no doubt spurned on by the very Grenadian revolution of one year earlier. "Awo" championed the new mood of the Islands.

Both songs, calypsoes flavoured with the newly introduced Soca melody of the mid 1970's, are now given a new lease of life on this record.

* Limited Edition Gatefold 2LP set with printed inner sleeves.

* Following their surprising debut on cassette tape in past February, Magamura put out the vinyl version of Supernaturals. Comprised of Eril Fjord and Laurine Frost, the Hungarian duo have carved out their reputation through live performances at renowned festivals and venues like Arma in Moscow, combining the formar's indie aestheric and the electronic music prowess the latter has proved on work for the Nervmusic imprint. Despite their huge influence from the 70-80s experimental music, Supernaturals is not so much retrospective as ominously dystopian. It captures and distils their well-known improvisational mutability into a testament to their promising potential, which will stand the test of time. This is Kebko Music's first instalment on vinyl. Following our tradition of carefully-wrought artwork, the LP comes in a gatefold sleeve designed by Damien Tran.

* Kebko Music is Tokyo-based Akiko Kiyama's independent music label focusing on releasing avant-garde music which is not bounded by any specific genres but embraces the whole range of techno, experimental music, field- & live-recordings and classical music. The label owner established her name by Richie Hawtin featuring her track in his well-known DE9 Transitions mix in 2005. Since then, her music style has gradually changed to explore the edge of electronic music. The core of the label is based on small handcrafted editions of cassette tapes. It aims to give a chance for all of artists and listeners to explore their musical experience and creativity.

Mars Williams, key US saxophone player (for instance with Vandermark projects, Brötzmann Octet, Psychedelic Furs and his own band Liquid Soul), together with one of the most active drummers around, Paal Nilssen-Love of The Thing, and longtime bass-player of the active Chicago Scene Kessler (DKV, etc)

The now infamous and classic Rude Movements (Part I & II) from SunPalace gets a much needed edit spread across a 7' made exclusively for Record Store Day. LIMITED EDITION!

Last volume of this compilation series, again a great one.., Holding amazing tunes from across the globe that you probably already have been looking for.... TIP!!
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Over the last five years and as many volumes of their Beach Diggin' compilations, Guts and Mambo have explored the reefs of five continents, dredged the sea beds of countless seas and oceans, examined every single seashell with the aim of making sure that no vinyl pearl should escape their notice.

Tunisian reggae, Japanese disco, West Indian jazz-funk, the duo's aesthetic dribbling skills would stop the savviest Brazilian football player dead in his tracks, and it was with this in mind that they proceeded to select their discoveries. With a marked preference for meditative free-diving rather than tour package scuba diving, and isolated spots rather than massively overdeveloped beachfronts.
For this latest instalment of their adventures, Guts and Mambo have organised another expedition around the world, to salute the spots where for the last five years they have uncovered rare specimens, saving some of them from total extinction, while shining a light on others that amply deserved it.

Though each Beach Diggin' compilation can be listened to independently of the others, the five together now form a kind of navigational chart signalling with its green flags the places where, in Africa, Europe, Asia, America, and the South Pacific, they gambolled on sandy beaches, avoiding the well-trodden path, becoming more and more demanding with each passing year.
Beach diggin' is a state of mind...

Exklusiv für Deutschland in limitierter Auflage auf rotem Vinyl, 180g!!!
Der Klassiker von Miles Davis aus dem Jahr 1957.

On the fifth release on the Grotto Editions X We Jazz 10" EP series, sax man Pauli Lyytinen steps up with a strong 4-tracker featuring Verneri Pohjola on trumpet, Eero Tikkanen on bass, and Mika Kallio on drums. The leader of the Helsinki-based quartet is known from other projects such as Mikko Innanen 10+ (in which the entire quartet is featured), Raoul Björkenheim eCsTaCy, and Elifantree. "Artist of the Year" at the 2017 Pori Jazz Festival, Finland's premiere jazz event, Lyytinen displays his ability of writing melodic fire music with ever-evolving momentum.

Each of the group members is currently in the middle of an active period in their respective careers, with Pohjola experiencing well-deserved acclaim for his latest LP "Pekka", Tikkanen working on the new album with the Mopo trio, and Kallio performing lauded shows experimenting with the duo of percussion and a dancer.

On GROTTO005, the quartet pools together their creative resources, presenting four original compositions by Lyytinen. They rely on their individial soloistic strengths and get a lot of mileage out of the group's strong interplay. Their sound should appeal to fans of Art Ensemble of Chicago, Andrew Cyrille, Byard Lancaster, and the indie label free jazz movement of the late 60's/1970's, to mention but a few directions on the musical compass. That being said, the quartet shines in creating personal music which has a strong footing in the now.

REPRESSED !
A mixture of live recording and studio post-production, 'On Jupiter' sounds unique to any other album Sun Ra made. The arkestra reflects a disco pulse right back on itself, and delivers one of the most cohesive albums of their career. The title track is a masterpiece of gentle atonal harmony, while 'UFO' pushes along at a cracking disco-ish pace with fierce brass and spacey dub effects. This a timeless Ra classic.

Following overwhelming demand, Brownswood Bubblers Twelve parts 1 and 2 are being combined for a deluxe double CD edition.

Compiled by DJ, record collector and label boss Gilles Peterson, Brownswood Bubblers Twelve is here. Combining the two parts released across two vinyl editions, the idea remains the same - shining a light on new and under-the-radar talent.

The roll-call of artists who've appeared on the Brownswood Bubblers series is impressive. Boasting alumni like Flying Lotus, Dam-Funk and Floating Points, the compilations have long championed the rising stars of underground music. The first edition since 2014, Brownswood Bubblers Twelve picks up where the last one left off - by looking to the acts set to make waves in 2017 and beyond.

With a whole three years having passed since the last Bubblers was released, too much exciting music has amassed to fit onto one release. For that reason, it was split into two parts - making room for the whole, expansive spectrum of new sounds, they were divided across two vinyl releases. Now, they've been brought together on a bumper CD edition. The new compilation arrives as Peterson's independent label Brownswood Recordings (from which the series takes its name) tails off celebrations for its 10th birthday. Plus, they draw draws on two talents, in Broadstrokes and Skinny Pelembe, who've been nurtured through Peterson's Future Bubblers programme - an Arts Council-funded scheme, it's about helping new artists into the industry.

Compiled by DJ, record collector and label boss Gilles Peterson, part two of Brownswood Bubblers Twelve is here. Dividing the first vinyl edition across two releases, the idea remains the same - shining a light on new and under-the-radar talent.

The roll-call of artists who've appeared on the Brownswood Bubblers series is impressive. Boasting alumni like Flying Lotus, Dam-Funk and Floating Points, the compilations have long championed the rising stars of underground music. The first edition since 2014, Brownswood Bubblers Twelve picks up where the last one left off - by looking to the acts set to make waves in 2017 and beyond.

With a whole three years having passed since the last Bubblers was released, too much exciting music has amassed to fit onto one release. For that reason, it's been split into two parts - making room for an expansive spectrum of new sounds, this second part follows the first edition released in April (followed by vinyl in June).

The new compilation arrives as Peterson's independent label Brownswood Recordings (from which the series takes its name) tails off celebrations for its 10th birthday. Plus, this part draws on two talents, in Broadstrokes and Skinny Pelembe, who've been nurtured through Peterson's Future Bubblers programme - an Arts Council-funded scheme which is about helping new artists into the industry.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 1000 INDIVIDUALLY
NUMBERED COPIES ON PINK VINYL

Demon Fuzz was an afro-rock group of which its members had all immigrated to Britain from Commonwealth countries. The band's name means devil's children or bad policemen'. They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz and African music.

Released in 1970 the band's only album, the extraordinary
Afreaka!, demonstrates their excellence in playing psychedelic soul, dub-heavy funk, progressive rock, Afro-jazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. This re-release, which includes the stunning and rare EP that at the time was released along with the album, tells the band's full story
for the first time ever.

All tracks were credited to Ray Rhoden and W. Raphael Joseph, except for the second track, which was credited to W. Mitchel and Paddy Corea. Corea was also credited with all arrangements'. It was a Billboard 4-STAR' selection in June 1971.

Released in 1970 the band's only album, the extraordinary Afreaka!, demonstrates their excellence in playing psychedelic soul, dub- heavy funk, progressive rock, afrojazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. It was a Billboard "4- STAR" selection in June 1971.

The band's name means "devil's children or bad policemen". They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz, and African music. Afreaka! is now available as a limited edition of 2000 individually numbered copies on purple translucent coloured vinyl. The sleeve has a nice linen laminate finish