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Recently championed by Gilles Peterson on his BBC6 Music radio show, "Dilla" by Abstract Orchestra has been generating a buzz since it's inception in 2016 and subsequent u.k. tour, during which the album was presented to the public in its live form.

Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop. Complex harmonies are framed within simple loops and complex bar structures and time signatures can pass by unnoticed. "I selected the tracks on the album with very much the live performance in mind" says band-leader and arranger Rob Mitchell "So the album is a reflection of the tour and the music we performed".

Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener"Welcome to Detroit/The Diary"takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while"Workinonit"Transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On"Stop"vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey, both big sources of inspiration for Abstract Orchestra.

The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut"and"Welcome To The Show"."Raw Shit"sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love"sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic"features theRhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.

"Love","So Far To Go","A.N.G.E.L.", and"Sun In My Face"provide interesting takes on these well known Dilla originals while album closer"Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.

Closing track "Two can win" was played twice in two consecutive weeks by Gilles Peterson on his BBC6 Music show, where he declared it to be "A Winner".

Containing some of the best songs he's ever written, "Southern Nights" is Allen Toussaint's 1975 "swing for the fences" attempt at an all out masterpiece. Somewhat of a concept album, with reoccurring instrumental themes usually based on the title track popping up between songs, this album spawned at least two hits for other artists. The title track (minus the Lennonesque rotary speaker vocal effect) was a giant hit for Glen Campbell, and "What Do You Want The Girl To Do" was one of several singles on Boz Skaggs' 1976 gazillion seller "Silk Degrees" and also recorded with some success by Bonnie Raitt. On rust colored vinyl.

David Arch is a pianist, conductor, arranger and composer with a prolific career covering albums, films and commercials, through to television and live work. However, David is undoubtedly best known for his role as Musical Director and arranger for Bafta winning BBC Television's Strictly Come Dancing which is currently in its 14th Home is David's debut solo album, comprising 15 of his compositions that present a stimulating and diverse collection of songs, rooted in Jazz, which takes it's listener along an exciting journey through uplifting big band/ orchestral compositions, retro style rock big band, modern Jazz Rock, a classy melodic jazz style ballad and a tour de force that builds from a dreamy start to a frenetic mix of rhythms - all played live. David wrote these tunes for differing ensembles and recorded then with co-producer Haydn Bendall at Abbey Road, Air, RAK and Strongroom studios, rallying around 80 of the finest studio musicians in the UK. These include David's Strictly... cohort Tommy Blaize, Jeremy Stacey (drums) Laurence Cottle (bass) John Parricelli (guitar) and Nigel Hitchcock (saxophone). Coming Home will be available on double vinyl for the first time from June 9th 2017.

One of those songs that seems tailor made for the popcorn genre, '16 Tons' gets a bold, big-band treatment from the legendary blues-man BB King - one of the best renditions out there. Flip it over for a contrasting but just as cool twist on '16 Tons', this one an uptempo, jazzy workout that will surely turn heads.

Archetypal swinging, jazzy popcorn from croon cat Dav Kipp with a finger snapping ditty named 'Yea! My Baby Loves Me'. On the flip, Jeanie Allen shows that the girls can swing just as much as the boys, with an added injection of feminine sass and desperate romance in the form of 'I Really Love You'

REPRESSED !!
The jazz voice of a generation, José James released his debut LP 'The Dreamer' in 2007 on Brownswood Recordings. It was crammed with smoky, low-slung jazz grooves blessed with Jose's rich baritone vocals - magnificent self-penned works nestling alongside uniquely crafted cover versions of John Coltrane, Rashaan Roland Kirk and even West Coast hip hop institution Freestyle Fellowship. Pursuing the same deeply soulful vocal jazz tradition exemplified by Babs Gonzales, Billie Holliday, Joe Williams and Leon Thomas, 'The Dreamer' quickly cemented Jose's stature and raw talent within the worldwide jazz community, and beyond.

Since 'The Dreamer' José has performed in maybe 30 countries, worked with some of the best, wisest and finest artists in the world such as Chico Hamilton and Junior Mance and he has built a community of friends and fellow music-lovers all over the globe. This global community helped shape his sophomore record: 'BLACKMAGIC'. Working alongside the likes of Flying Lotus (Warp/Brainfeeder), Moodymann, DJ Mitsu, Taylor McFerrin, he proved that he was perfectly at ease riding FlyLo's bumpy sketches, or indeed morphing Benga's dubstep anthem 'Emotions' into a killer live jazz workout. Now signed to Blue Note Records, Jose is about to release his 6th studio album entitled 'Yesterday I Had The Blue: The Music Of Billie Holiday'.

NAUTILUS is a trio centered around drummer Toshiyuki Sasaki, formed in 2014 along with its Bassist Shigeki Umezawa and Keyboardist Daisuke Takeuchi.Their distinctive style, which can be summarized as the modern rare groove, embodies a mixture of jazz, funk, disco, soul and even hip hop. The conception of NAUTILUS is drawn not only from the composition 'Nautilus' written by Bob James, but also from an American submarine that actually existed, thus resembling their contemporary style that carries on the rare groove music of the 70s in an abyssal imagery. Sasaki's versatile, yet solid drumming combined with Umezawa's full- bodied, powerful bass and Takeuchi's classically-trained prowess produces an exceptional sound unique all on its own.

LTD COLOURED VINYL
Available on vinyl for the first time ever is the soundtrack to the legendary Sun Ra film, Space Is The Place. Featuring some of Sun Ra's most adventurous and uncompromising compositions ever, the soundtrack incorporates vocal chants, harsh synthesizer and organ blasts along with film dialogue, heavy percussion and just all around weirdness. Featuring cover art by members of the legendary Ant Farm art collective. An amazing, and important piece from the extensive Sun Ra catalog and a must have for Sun Ra and avant-garde cinema collectors alike. Limited edition Isotopic red and yellow & Transmolecularized blue and green vinyl.

I released Zebra over 10 years ago on 12" year ago when at Jazzman Records but deicded to do it on the original format with a brand new master as its always been a favorite 70s dancefloor killer (Huge on the deepfunk scene in the early 2000s) and i needs to fit in peoples 45 box. 500 Only.

Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke's 'Mulatu Of Ethiopia' from 1972. Across three formats including a special 3LP version including unreleased bonus cuts and a special unreleased mono pressing of the album.

DJ Cam is back with his 7th album ' Seven ' after the release of the summer hit 'Swim feat Chris James' from Stateless.
With Seven, DJ Cam serves up his most personal album since the acclaimed Substances. Inspired as ever by the original jazz and hip-hop influences that helped him become one of the founders of the trip-hop scene back in 1995, this new album is also full of exciting new musical and visual influences.

Funky Trip Hop... groove 70's ambiances there !

Jazzy and funky grooves at its top !

Now for the first time on vinyl, Four Flies Records is proud to present an unmissable Eurocrime soundtrack by Guido & Maurizio De Angelis, composed in 1976 and considered to be one of the genre's finest offerings directed by Enzo G. Castellari.
Perhaps the most forceful OST from the Italian duo, IL GRANDE RACKET consists of fuzz distortion and electronic effects from the beginning to the end. This sonic gem is also enriched with psychedelic flutes, obsessive rhythms, and percussion which results with a totally prog-rock and psych-funk score that perfectly describes the main elements of the film: action, tension and violence.
Remastered from the original master tapes preserved for decades in the C.A.M. archives, and augmented with exclusive liner notes by Davide Pulici (Nocturno Cinema) and stunning original artwork created by Luke Insect, this edition will be a true pleasure of the senses for any and all soundtrack lovers.

Previously unreleased full edition for this explosive jazz-funk score by Italian Maestro Riz Ortolani, created in 1973 for the crime-movie Si può essere più bastardi dell'ispettore Cliff' (also known as Mafia Junction').
Only two tracks from this OST were published at the time in a now extremely rare C.A.M. 7-inch, but that was enough to create the legend...
Four Flies is honored to had access to the original C.A.M. master tapes, so to present here, just your pleasure, the complete session for the first time!
Just expect one of the funkiest piece of the whole Ortolani's career: car chases, sex scenes, vicious kills are served here by amazing drum breaks, fat bass lines, captivating horn section and wonderful guitar effects.

Totally outstanding session, and a real new classic for all crime-funk lovers!

Bloody abstract Electro Hip Hop, strongly blues, with a pinch of jazz.

Fanfare Ciocarlia non-stop road movie ! An absolute must have !

Spanish Guitar Jazz !

Experimental Jazz big discover ! Nedded !

The volume one of the big Open minded compilation from Ninja Tune with big tunes as that Henri Texier... and some cool disco sweet tunes and jazzz and electronica and ..,and....

Alto sax man Jukka Perko, one of Finland's leading jazz artists, presents a new project Tritone, where he joins forces with the dynamic rhythm section of Antti Lötjönen and Teppo "Teddy Rok" Mäkynen (who have appeared together in projects such as Teddy's West Coasters, The Five Corners Quintet, Timo Lassy Band, Verneri Pohjola Quartet, etc.). Perko, once a member of the Dizzy Gillespie Big Band, has put together a set of tunes made famous by Dizzy for the re-evaluation by the highly talented trio. The time is right now, Dizzy's 100th anniversary, 30 years since the alto sax player, back then a teenage sensation, shared the stages with the likes of Sam Rivers, Jerry Dodgion, Jon Faddis, and of course Dizzy himself.

As Perko himself put it: "It's not about what Dizzy's music means to us, but rather what we can bring to it. We're adding our own piece onto the mosaic which makes up modern jazz."

The release comes as both vinyl LP and CD versions, complete with a booklet including liner notes documenting Perko's time in the Dizzy Gillespie Big Band, and rare archival material from press clips to touring schedules. The vinyl includes free digital download with 4 bonus tracks.

Spring 2013 saw the release of LAURENT DE SCHEPPER TRIOs fulminant debut longplayer after the self-released EP "Telemark" - "Aquanaut" gained highest praise in the press: "Here's something emerging that connects the young german jazz scene with the international sound elite of jazz" (Wolf Kampmann), "refreshingly open-minded jazz ... great band." (De:Bug) and "finest entertainment at the highest level" (Westzeit) were some of the opinions. ISABEL FISCHER (bass), LARS OERTEL (drums) und THOMAS BÄR (saxophone) concentrate the progressive now-jazz of NILS PETTER MOLVAER, the ethereal art pop of TALK TALK and the structural freedom of SONIC YOUTH into multi-faceted, rapidly moving compositions where the meandering mix of the musical ingredients generates surprisingly new constellations which embrace cinematic soundscapes as well as emancipated dialogues of the instruments. The new track "Kryptos" offers all qualities of this Leipzig based band, guest vocalist PAULA AKINSINDE (IAN SIMMONDS / KLINKE AUF CINCH) blends excellently into the sound cosmos of the tight trio and is way more than just an ornamental attachment.The KAMMERFLIMMER KOLLEKTIEF remix "The Crypt" on side B triggers finest ecstatic moments and is a perfect completion exclusively available on this limited edition of 300 handnumbered 7"es incl. a postcard!

Recorded in a couple of sessions at Capitol Studios (1954) and Fine Sound Studios, 'Lady Sings The Blues' is a landmark
release. The album shared its title with Billie's ghostwritten autobiography, published the same year (which she maintained
that she never read). Of the 12 tracks, Too Marvellous For Words, Willow Weep For Me, I Thought About You and the
title song were new material for her, the remaining eight being past hits revisited.
Since her death, the music of Billie Holiday has been championed by many high-profile artists who freely acknowledge her
influence. Though Holiday's career was relatively short, she created a musical legacy that has endured to the current day.

Few would argue with Frank Sinatra's pole position in popular music. From the dark days of World War II to the fall of the Berlin Wall, Sinatra's voice has always been there as the soundtrack to our lives. Such was his pre-eminence as icon and actor, that Sinatra's status as a pop star is often overlooked. That omission is rectified here. Enjoy this magnificent compilation including "Nancy", "How Cute Can You Be" and "Hello Young Lovers".

Jazz musician and critic Leonard Feather once observed: Americans, unknowingly, live part of every day in the house that Satch built. A riff played by a swinging band on television, a nuance in a Sinatra phrase, the Muzak in the elevator, all owe something to the guidelines that Louis set.' He wrote those words many years ago, but today not a lot has changed. All the tracks included on this LP are brilliant, virtuoso performances from the legendary trumpet star who changed the course of jazz more than any other.

The world's most famous and most influential trumpet player shaped the face of jazz. Then, after inventing the art of scat
singing, he moved on to become one of the greatest all-round entertainers - a singer and musician like no other, one who
appeared in countless films and made an array of great recordings spanning jazz, Broadway and pure pop. Even today,
many years after his death in 1971, the sound of the so-musical gravel that was Louis Armstrong's voice still resonates
throughout our lives.

Das kolumbianische Label Disco Fuentes wurde in den Dreißigerjahren in Cartagena von Antonio "Tono" Fuentes Estrada gegründet. Es hat sich im Lauf der Zeit zu einer musikalischen Institution entwickelt, die in Sachen Musica Tropical weltweit ihresgleichen sucht: Disco Fuentes hat neben Salsa auch Cumbia, Fandango, Porro, Vallenato und andere populäre Musikrichtungen des Landes sehr erfolgreich und in höchster Qualität produziert und vermarktet. Ob Joe Arroyo, Sonora Carusseles, Fruko y Sus Tesos oder die Latin Brothers, die bekanntesten Musiker Kolumbiens haben alle irgendwann einmal - mindestens! - ein Album bei Discos Fuentes aufgenommen. Die Kompilation "Colombia!" widmet sich dem Zeitraum von 1960 bis 1976 und damit den goldenen Jahren von Discos Fuentes. In dieser Phase schrieb das Label mit einem unaufhörlichen Strom herausragender Veröffentlichungen Musikgeschichte. Für die Zusammenstellung, die 2007 erstmals erschien, wurden 17 mitreißende Highlights aus dem gigantischen Katalog ausgewählt. Sie decken von Cumbia und Gaita über Fandango bis Salsa und Champeta alle Genres ab, die Kolumbien zu bieten hat.

CURRO - Patuleco






CURRO - Puerto rico zumbando


Honolulu


COMBO CURRO - Traigo salsa


ORQUESTA - Fiesta de negritos

Next Phase Records present the second volume of the Wound Up Beat Tape series showcasing experimental downtempo music from around the world. This limited edition cassette and digital release features 11 exclusive tracks ranging from instrumental hip hop to jazz fuelled break beat.
Like the rst volume it's aim is to deliver a unique and personal auditory experience stretching an array of BPM's. This adventurous approach to compilations is reminiscent of classic Mo Wax albums that remain a constant source of inspiration for producers today.

The release begins with a delightful slew of uplifting samples and colossal drums before a trademark Next Phase excursion into unconventional fusions and monstrous soundscapes takeover.

Flipping the traditional concept of a Beat Tape on
its head the Wound Up philosophy is a clear one: to deliver a variety of fully produced tracks that demon- strate character, diversity and emotion whilst keeping that funk alive!

The cassette is limited to 100 copies with each one being personally assembled by label curator Robbert Peperkamp. This edition contains exclusive atmospheres and skits that form an enhanced cinematic style experience. It comes complete with a download/code to the digital version of the LP.

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

When the Cuban pianist Ruben Gonzalez recorded his frst solo album in Havana in 1996 he was 77 years old. Released on World Circuit the following year, along with the Grammy-winning Buena VistaSocial Club on which he also played, it led to a remarkable late fowering of his career that lasted untl his death in 2003, as he toured the world and was revealed as one of the tmeless legends of Cuban music. Recorded in two days immediately following the completon of Buena Vista Social Club with many of the same musicians, Introducing Ruben Gonzalez now gets a welcome reissue on double 180g vinyl. Mastered from the original mix tapes by Alex Wharton at Abbey Road, several tracks are now heard in unedited, full length form for the frst tme with the additon of a further track that has never previously been released.The story of Ruben Gonzalez's rediscovery was movingly told in Wim Wenders' award winning Buena Vista Social Club flm. A maestro whose piano playing in the 1940s helped defne the Cuban sound as we know it today, by the 1990s Rubén had virtually stopped making music. Sufering with arthrits, he no longer even owned a piano.
Invited to come out of retrement in 1996 to play on World Circuit's remarkable trio of albums recorded in a two week session in Havana in 1996 - alongside Ry Cooder on the Buena Vista Social
Club album, and with the Afro-Cuban All Stars on their debut 'A Toda Cuba La Gusta' - his pleasure as his touch and phrasing returned was palpable and infectous. Every morning he was the frst to arrive at the studio in Havana, waitng for the doors to be unlocked. Once inside he played all day long, promptng Cooder to dub him the greatest piano soloist I have ever heard in my life.' Accompanied by a hand-picked band playing a selecton of Cuban classics 'live ' in the studio, Gonzalez turned in one of
all tme classic Cuban piano albums.

A familiar sound returns....like an old friend. The gorgeous vocals of Caron Wheeler and the rhythmic vibe of Simon Law. Simon was a key member of Soul II Soul, co-writing their two Grammy-winning songs  Back To Life (However Do You Want Me)' and African Dance'.  He has worked on all their albums except one, producing and co-writing many of their hit singles.  He still performs regularly with the band at festivals and on major TV appearances. 

Now living in Toronto, he has also enjoyed success as a writer, producer and remixer with the likes of Chante Moore - for whom he produced the Top 10 R&B hit Love's Taken Over' -  Brenda Russell, Maxi Priest, George Michael, Robert Palmer, Duran Duran, Johnny Gill, Masters At Work and Shabba Ranks.

On his debut solo album Look To The Sky Simon reunites with Caron - on the uplifting lead single Morning Love' -  as well as Jazzie B, Chante Moore and Maxi Priest, whose Sunshine Girl' is the second single.  His main writing collaborator, who sings lead vocals on the hooky Rocket Ship' and a number of other tracks, is Lain Gray, originally a member of UK vocal group Nu Colours and now living in Texas.  Jamaican singer Nadine Sutherland, a Bob Marley discovery who was the first signing to his Tuff Gong label at the age of 11, turns in an outstanding performance on Love Comes Back To You'. 
An album that is at turns funky, ethereal, majestic, with a strong rhythmic groove.
In the UK Morning Love' has already attracted airplay on BBC Radio 2, BBC Radio London, Jazz FM, Mi-Soul, BBC Manchester, and many more. In Holland it is playlisted at national station Sublime FM. Simon will be visiting the UK for promotion in May and June, when he will also be performing in London with Soul II Soul.

A new Sun Ra LP touches ground in the earthly bins, 50 years after its creation!

Sun Ra is still trying to get our attention 50 years after dispatching this transmission. Humanity's path since then makes his message even more urgent today. Years after Herman Poole LeSony'r Ra' Blount left the planet' he's still trying to reach us, to wake us up and to change our destiny. Sun Ra and the Arkestra weren't a traditional studio band, and every star in the vast galaxy of their discography reflects this. The origins of these records can be hard to pinpoint at times, but when it comes to Thunder Of The Gods, it's a bit easier. Calling Planet Earth - We'll Wait For You' was discovered on tapes from Ra's, Universe In Blue, believed to be recorded in '71. The raucous title track and Moonshots Across the Sky' are unearthed from the '66 Strange Strings sessions. Modern Harmonic has once again paired Ra's sonic art with the visual art of The Father of Modern Space Art,' Chesley Bonestell, whose 1952 work 'Formation of the Earth's Continents' spralls across the front and back covers.

"Thanks to Modern Harmonic, in partnership with Sun Ra LLC, soon you will be holding an album of unreleased Sun Ra music 50 years after it was recorded! That this music survived to reach our ears after all of this time is quite a miraculous gift. It sounds as though it could have come from either the ancient past or the distant future, yet most perfectly, it's the music of right now.' — Christopher Eddy (Sun Ra Arkive)

This anthology extra-terrestrial funk focuses on vocal delights in Portuguese Brazilian
(No English singing Songs)

Smoky, sweaty rhythm & blues heavily on American soul and funk jazz-funk, samba rich grooves, disco, luscious orchestration, boogie gems Killer tunes

Tim Maia father of Brazilian soul music have released over 30 albums during his career.
Iconoclastic, ironic, outspoken, polemical (but always humorous), and openly addicted to cocaine and marijuana, he was known for lightheartedly missing appointments and even big-time gigs, and also for being boycotted by recording companies, TV networks , and other media that didn't swallow his disturbing presence.
Maia spent a couple of years involved with a religious group called Cultura Racional that held the belief that humans are really aliens that need to reconnect with an elemental form of energy through the teachings of a book called Universo Em Desencanto).
Tim Maia was never satisfied. Brazil's number one soul brother had a voracious appetite for both carnal and philosophical indulgences. Died at age 55 in 1998
With the help of cream-of-the-crop session musicians and songwriters, Tim blazed the way for a unique fusion of Brazilian styles and American soul music, something timeless and wholly original.

John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the '60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between.

Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks ("Manifestation" and "Rev. King") by John Coltrane's legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more ("Lord Help Me To Be" and "The Sun") from Alice Coltrane's very first session as a bandleader, recorded six months after her husband's passing.

"Manifestation" opens with the group already in mid-flight: Trane's fierce tenor leads the way with Pharoah Sanders' blistering sax and Alice's powerful chords hearing his call. On "Rev. King," Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison's bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali.

Foreshadowing her majestic debut, A Monastic Trio, "Lord Help Me To Be" brings Alice's celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. "The Sun," a meditative ballad with subtle urgency, perfectly closes the album's contemplative circle.

As John Coltrane recites on the final track, "May there be peace and love and perfection throughout all creation."

2017 Reissue of the third album called 'Quatorze Pièces de Menace' from 2013. This third full-length of the cult french dark jazz collective is the follow up of the highly acclaimed 2011 output Métamanoir - the second release for the german experimental music label Denovali. Halfway from their debut Parole de Navarre's ambient and drone driven soundscapes and the more orchestrated Métamanoir, this new collection of tracks is following their quest for dreamy but mysterious places.

A hint of 50s cool jazz, a truckload of noise and melodies, again tiny references to Twin Peaks' series soundtrack and some ghostly and deep tone voices: the Dale Cooper Quartet pushes the genre Darkjazz towards other spaces. Recorded in Brest, Britanny, France, this album always conveys an atmosphere of strangeness and beauty, the trademark of every Quartet's records. Based upon the live experiences of the band and their everlasting love for the local landscapes, Quatorze Pièces de Menace is as striking, deep, fascinating and beautiful as a storm in the middle of the Atlantic.

The Dale Cooper Quartet & The Dictaphones are returning with their 4th album called "Astrild Astrild". Like all of the previous albums, the band recorded the seven pieces at home in Britanny during several sessions between 2013 and 2016.

The characteristics of this full-length are classic drone soundscapes mixed with deep tone saxophone parts that became the band's trademark since the release of their debut album in 2006. Slowly paced, the new tracks are following the Quartet's basic structure and classical sound. Apart from that the new full length conceals more live takes including guitars, bass and Rhodes keys and even piano sounds are haunting for the first time at the end of 'Ocho Acenteur'. With these new elements the songs of "Astrild Astrild" are pushed further into a large tunnel of deafening rhythmic parts and field ambiant textures.

Vocals are a major element of the Dale Cooper Quartet & The Dictaphones' DNA since the second album "Metamanoir" (2011). Sometimes breathy, sometimes deep and often mysterious, Ronan MacErlaine, Gaëlle Kerrien and Zalie Bellacicco voices appear in the corners of the songs as ghostly figures or eerie characters.

The new album "Astrild Astrild" is a glimpse of the present live sound of the Dale Cooper Quartet: 50's crooners singers, noisy guitars, atmospheric electronic and hypnotic jazz. All of these elements painted in monochrome black.