Pop & Rock Vinyl New Releases - News

Obscure roots vocal cut produced by Niney The Observer with a nice dub on the b-side

Contemporary field recordings from the Sahelian empire of Niger. Focusing on guitar music throughout the country, from meditative starlight ballads, fuzzy Hendrix covers, rag tag wedding bands, to politically minded folk guitarists. A beautiful encapsulation of the diversity of guitar as it exists today, documented over years of travels. Recorded live with a single microphone, with a backdrop of children's voices, crickets, and village ambience. A follow up to Laila Je T'Aime and Ishilan n-Tenere. With 16 page full colour liner notes.

Off to a flying start in 2017, with four new tracks from Diggory Kenrick and Jah Wobble. A side has the flute business plus a dub, with an alternate cut on the B side with a lush xylophone workout. Wobble's bass comes up from the cellar and Digs' melodies are inspired. Mixed by Diggory Kenrick at Foggy Road studios.

Reward For Me is one of Joe Higgs finest songs. Evocative of the Trenchtown ghetto where evenings were spent rehearsing and songwriting in Joe's informal 'yard' sessions, it has the added bonus of Eric Gale's jazz guitar licks accompanying Joe's rhythm guitar. The B side is a tasteful instrumental, rather than a heavy dub. Absolute classic song long been unavailable on a 45, comes in a hand stamped bag. Essential.

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.

By the time Rosemary Lane was released in 1971, Bert Jansch had covered a great deal of territory on numerous albums as a solo artist, collaborations with John Renbourn and records by the band in which he and Renbourn sang and played guitar, Pentangle. Returning to the intimate economy of his self-titled debut LP from a half-dozen or so years earlier, Rosemary Lane was recorded on portable equipment by engineer/producer Bill Leader and featured Jansch with no accompaniment save his guitar and voice.

Rosemary Lane has elements of many of the styles Jansch covered in his extraordinarily eclectic career - from the folk and blues that were his bedrock to medieval music - yet cuts to the heart of his strength as spellbinding storyteller and empathic interpreter of isolation and want. Occasional instrumentals vary the mood that, like much of his work, is usually somber and introspective.

Jansch once again lights the way forward with detours through the past. His sparse arrangements seamlessly merge original songwriting and traditional folk songs, while Jansch's imaginative lyrics charm every step of the way - as if speaking directly to the listener alone.

This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.

Bert Jansch's freewheeling fifth album, Birthday Blues, occupies a unique place in his solo discography. Released in 1969, the same year Basket of Light propelled Pentangle into the UK pop charts, Birthday Blues almost sounds like a Pentangle LP missing John Renbourn and Jacqui McShee. Backed-up by bandmates Danny Thompson and Terry Cox, Jansch neither holds back his characteristic moodiness nor takes himself too seriously.

What's more, Jansch is in love. Heather Rosemary Sewell isn't just the inspiration for one of the song titles, she also designed the cover, whose Hans Feurer front photo shows Bert holding the couple's puppy. With just enough of a Donovan-esque pop sense, Pentangle producer Shel Talmy keeps the overall feel of these recordings fresh, warm and immediate.

As its playfully ambivalent title suggests, Birthday Blues reveals an artist fully comfortable in his own skin. Blues and folk influences are woven together into songs at once directly personal, yet generously light and free. The most "pop" of Jansch's '60s solo recordings and perhaps one of his most underrated, Birthday Blues is a deep and rewarding family affair at the height of his musical powers.

This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger.

Brazil 45, number 57: 'Zózoio - Como É Que É' also known as 'Zozoi' is an uptempo samba-jazz-MPB workout with a catchy chorus hook, guitars, subtle driving percussion and big horns. The song was written by Joyce's husband Nelson Angelo. The track appears on Celia's first self-titled LP that was released on Continental in 1971 and remains hard to find. We are also big fans of France Gall's more well-known version, which was reissued by Jazzman several years ago. Featuring slightly different lyrics, in French, by her husband Robert Gall. 'Para Lennon e McCartney' comes from the same Celia LP - a soaring anthem with big horns, vocals and tough funk drums underneath. Written by Márcio & Lô Borges and Fernando Brant.

Am 10.02.2016 erscheint mit "Elwan" das neue Album von Tinariwen via Wedge. Die Geschichte um die Wüstenrocker aus Mali wird immer eine besondere sein. Sie ist geprägt von tiefer Tragik und kleinen Hoffnungsschimmern. Eine Art Paradox, das sich kontinuierlich durch die Musik von Tinariwen zieht. Durch die gewaltsamen Unruhen in ihrer Heimat war die Band gezwungen das neue Album im Exil aufzunehmen. Sie pendelten dabei zwischen der kalifornischen Wüste in Joshua Tree sowie M'Hamid El Ghizlane, einer Oase im Süden Marokkos. "Elwan", das übersetzt "Die Elefanten" heißt, ist eine Art Sehnsuchtsalbum. Die Sehnsucht nach der Heimat, die es nicht mehr gibt. Nostalgie und Melancholie geben sich hier die Hand.

ZIMBA is a band founded in Amsterdam by Zimbabwean expatriate Phil Arosa. BALEKA is their only studio recording out in 1983 in both a short and a long version. TIP!

deDUBros begins the 2017 releasing their first 7" vinyl! And it's Elastica N° 100!
Let yourself go in the warm atmosphere of a Caribbean beach with Mr. Caraibo!
Classic roots instrumental tune, singing saxophone and the B-side DUB version Mr. Caraidub!
Limited copies in the marvellous graphic art packaged vinyl!
Get your own one and #STAYDUB

1985 Headphone scorcher reissued for the first time, with original label artworkon translucent vinyl, in spined house bag.

1988 Little John Nheng release reissued for the first time, with original label artwork, on translucent vinyl, in spined house bag.

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 and Quateto Em Cy. 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 Toca Antonio Carlos Jobim and Jose Mauro's Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

The 3rd release in the series (following the aforementioned albums by Jose Mauro and Victor Assis Brasil) is Piri's Vocês Querem Mate, a highly sought after jewel of twisted psychedelic MPB.Vocês Querem Mate, the first recording by the relatively unknown singer songwriter Piry Reis is dreamy and ethereal, groovy Brazilian psych-folk at its finest. Reis has collaborated with greats like Egberto Gismonti and Robertinho Silva, and had his music performed by Celia, Charlie Haden and Jan Garbarek. His four solo albums are all rare as hens' teeth and have been known to fetch a hefty bounty, but none higher than his debut, and for good reason.

Instantly captivating from its first second, the lone trembling piano in 'Reza Breva' builds a tremendous tension before bursting into the joyously funky Tropicalista folk jam that keeps up throughout the album. Flying the Brazilian freak flag high are percussion kings Juquina and Wilson Das Neves along with Paulinho Jobim and Danilo Caymmi on flutes. It's a dazzling, lucid piece of escapism, as necessary today as it was when released into the tumultuous political climate of 1970s Brazil. Tracks like 'As Incríveis Peripécias De Danilo' and 'Cupído Esculpido' are tripped out MPB at its most decadent, and more sombre moments like 'Sombra Morta' and closer 'Chão Vermelho' offer shadier melancholic contrasts. Without a doubt the most free-spirited release in the Quartin catalogue, Voces Querem Mate is a forgotten treasure of Brazilian music of the highest order.

All the releases in the Quartin series have been re-mastered from the original 2' tapes, and pressed to high quality heavyweight vinyl. Still to come from Far Out's reissuing of the catalogue are Victor Assis Brasil's Esperanto, and another Jose Mauro release A Viagem Des Horas.

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 and Quateto Em Cy. 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 Toca Antonio Carlos Jobim and Jose Mauro's Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.The 3rd release in the series (following the aforementioned albums by Jose Mauro and Victor Assis Brasil) is Piri's Vocês Querem Mate, a highly sought after jewel of twisted psychedelic MPB.Vocês Querem Mate, the first recording by the relatively unknown singer songwriter Piry Reis is dreamy and ethereal, groovy Brazilian psych-folk at its finest. Reis has collaborated with greats like Egberto Gismonti and Robertinho Silva, and had his music performed by Celia, Charlie Haden and Jan Garbarek. His four solo albums are all rare as hens' teeth and have been known to fetch a hefty bounty, but none higher than his debut, and for good reason.

Instantly captivating from its first second, the lone trembling piano in 'Reza Breva' builds a tremendous tension before bursting into the joyously funky Tropicalista folk jam that keeps up throughout the album. Flying the Brazilian freak flag high are percussion kings Juquina and Wilson Das Neves along with Paulinho Jobim and Danilo Caymmi on flutes. It's a dazzling, lucid piece of escapism, as necessary today as it was when released into the tumultuous political climate of 1970s Brazil. Tracks like 'As Incríveis Peripécias De Danilo' and 'Cupído Esculpido' are tripped out MPB at its most decadent, and more sombre moments like 'Sombra Morta' and closer 'Chão Vermelho' offer shadier melancholic contrasts. Without a doubt the most free-spirited release in the Quartin catalogue, Voces Querem Mate is a forgotten treasure of Brazilian music of the highest order.

All the releases in the Quartin series have been re-mastered from the original 2' tapes, and pressed to high quality heavyweight vinyl. Still to come from Far Out's reissuing of the catalogue are Victor Assis Brasil's Esperanto, and another Jose Mauro release A Viagem Des Horas.

I think music has been banalised and vandalised by commercial misuse.
This EP shows struggle, it is explicit and romantic, like a ruin.'

Expat, visual and sound artist Astrid Gnosis explores social and emotional collapse through her work — a heady mix of abstract textures, fractured beats, cinematic atmos-pherics, twisted melodies and off-the-wall vocals.
Now living and working in London, Astrid began writing music when she was just 13 years old. She's crafted sonic installations for exhibitions and art performances, alone and col-laborating with other artists. She's made the soundtracks and sound design for a number of short films, the most recent will be shown at the London Short Film Festival 2017.

Music alone is a vessel, it diplomatically drives consciousness into reflection. Words seemed to limit this journey' she continues but increasingly I felt the urge to narrow my language, and incorporate more violence into music', she says, because for me it is vital to speak of the anger and hopes of my generation, and it is now we're most angry.'

'Agnosis', a conceptual six-track EP is about tacit conflict and subsequent collapse', painting a greying, dystopian picture of where our futures might be headed. Agnosis means ignorance in greek, this EP is the first part of a cognitive map of fear, strength, faith, fate, love and hate.'

These themes are catapulted into flux across all six tracks on 'Agnosis', from the hollowed out ambience on gentle opener, 'Arab Spring', the off-kilter experimentalism and crunchy beats of 'Severe Delays' to the rebellious, bastardised hard techno of final track, 'Titan', Astrid, in her own words, 'glorifies discomfort'.

While designed to challenge every aspect of the listening experience, Astrid's work on 'Agnosis' — although fiercely bound to her own philosophical and socio-political narrative — is testament to a musician who can match one-of-a-kind sound design with raw, unfil-tered musical ideas.

I speak for an absolute re-envisioning of our belief systems', Astrid explains, for the destigmatisation of words and symbols, to discourage fear not with mere entertainment and distraction, but with thought. That's who I try to be.'

Their 1973 debut on the legendary Saravah label. A subtle mix of spiritual jazz, pop, folk and avant-gardism, reminiscent of Full Moon Ensemble, Brigitte Fontaine and the Thêatre du Chêne Noir. One of the most innovative of all French prog underground bands.

Taken from "Turn Up" their first album in 11 years, one of the leading figures of the Japanese ska scene The Ska Flames dropping the Japane bred Jamaican ska "Hoppin' Steppin'" backed with a cover of classic ballad "Someday" by Dave Bartholomew.

Uzelli Psychedelic Anadolu is a new, stimulating and refreshing compilation of psychedelic sounds from Turkey, offering a new perspective, fresh names and undsiscovered genres. Pressed for the first time on vinyl, released on CD and digital, all the tracks were discovered in Uzelli's archives. Selected from thousands of tracks, re-mastered from mastertapes and high quality recording tapes. Radical and edgy electrified baglamas, moog and synthesizers, combined with sweet melodies and heart-braking lyrics that will open your ears to the yet-undiscovered Anatolian soundscape.

Uzelli - one of the most important cassette label from Turkey, established in 1974, presents an exciting new story of Turkish Psychedelic Anadolu music, pushing the boundaries of time and space, stretching your perception of the genre to unexplored period of the 1980s. Diving into its huge archive, Uzelli presents the classics and previously undiscovered names of Turkish Psychedelic Anadolu music, showcasing less known but extremely exciting sub-genres. This compilation extends the history of Psychedelic Anadolu music by focusing on the period between 1975 - the high point of the vinyl culture - and 1984 - the culmination of the cassette industry. These 10 years of Turkish history were times of political chaos and were divided into two periods by the military coup in 1980. After the coup d'etat, those citizens who felt ignored, underappreciated, for whom politics had never been the most important part of their daily lives became more and more visible and were officially demanding their music in their new urban environment. Due to new political circumstances, everyday routines, culture and music changed. Rock was expanded to make a place for new musical genres that more accurately reflected people's social and economic positions, innermost feelings and moods. Folk, Taverna, Fantezi and Arabesk were most popular genres in that period. Psychedelic music of the 1970s combined hip instruments such as electrified baglama, moog and synthesizers with sweet melodies and heart-braking lyrics, and these sounds became even more radical and edgy in the 1980s.

These tracks are selected from the best psychedelic arrangements of rock, pop and folk songs. But this also represents an unique combination of personalities and characters, from giants of the Turkish Psychedelic scene like Erkin Koray, Ünol Büyükgönenç of Kardaslar, to unknown and undiscovered Kerem Güney, the ephemeral band Zor Beyler with Ayzer Danga from Mavi Isiklar and Mogollar on drums, Ali Ayhan from Urfa with his unquestionably unique voice from the folk scene, Akbaba, the extreme wedding duo. This compilation would not be as powerful if not for the inclusion of two ladies: the mysterious Elvan Sevil and Nese Alkan, accompanied by Zafer Dilek Orchestra, whose amazing voices calm down the tempo and simply melt your heart.

The grahic design of the release follows the original art of Uzelli casssette covers by Turkish artist - Armagan Konrat. The release consists of liner notes, insert with stories behind tracks and bands, original photos and cassette covers from Uzelli archive. All tracks are fully owned by Uzelli label.

Uzelli Psychedelic Anadolu is first vinyl, CD and digital release of the series of exciting compilations and albums selected from vast archive of Uzelli.

Vinyl release: gatefold with gold print, liner notes, insert with stories behind the tracks, 180 g

CD - 12 pages booklet, slipcase

Uzelli Psychedelic Anadolu is a new, stimulating and refreshing compilation of psychedelic sounds from Turkey, offering a new perspective, fresh names and undsiscovered genres. Pressed for the first time on vinyl, released on CD and digital, all the tracks were discovered in Uzelli's archives. Selected from thousands of tracks, re-mastered from mastertapes and high quality recording tapes. Radical and edgy electrified baglamas, moog and synthesizers, combined with sweet melodies and heart-braking lyrics that will open your ears to the yet-undiscovered Anatolian soundscape.

Uzelli - one of the most important cassette label from Turkey, established in 1974, presents an exciting new story of Turkish Psychedelic Anadolu music, pushing the boundaries of time and space, stretching your perception of the genre to unexplored period of the 1980s. Diving into its huge archive, Uzelli presents the classics and previously undiscovered names of Turkish Psychedelic Anadolu music, showcasing less known but extremely exciting sub-genres. This compilation extends the history of Psychedelic Anadolu music by focusing on the period between 1975 - the high point of the vinyl culture - and 1984 - the culmination of the cassette industry. These 10 years of Turkish history were times of political chaos and were divided into two periods by the military coup in 1980. After the coup d'etat, those citizens who felt ignored, underappreciated, for whom politics had never been the most important part of their daily lives became more and more visible and were officially demanding their music in their new urban environment. Due to new political circumstances, everyday routines, culture and music changed. Rock was expanded to make a place for new musical genres that more accurately reflected people's social and economic positions, innermost feelings and moods. Folk, Taverna, Fantezi and Arabesk were most popular genres in that period. Psychedelic music of the 1970s combined hip instruments such as electrified baglama, moog and synthesizers with sweet melodies and heart-braking lyrics, and these sounds became even more radical and edgy in the 1980s.

These tracks are selected from the best psychedelic arrangements of rock, pop and folk songs. But this also represents an unique combination of personalities and characters, from giants of the Turkish Psychedelic scene like Erkin Koray, Ünol Büyükgönenç of Kardaslar, to unknown and undiscovered Kerem Güney, the ephemeral band Zor Beyler with Ayzer Danga from Mavi Isiklar and Mogollar on drums, Ali Ayhan from Urfa with his unquestionably unique voice from the folk scene, Akbaba, the extreme wedding duo. This compilation would not be as powerful if not for the inclusion of two ladies: the mysterious Elvan Sevil and Nese Alkan, accompanied by Zafer Dilek Orchestra, whose amazing voices calm down the tempo and simply melt your heart.

The grahic design of the release follows the original art of Uzelli casssette covers by Turkish artist - Armagan Konrat. The release consists of liner notes, insert with stories behind tracks and bands, original photos and cassette covers from Uzelli archive. All tracks are fully owned by Uzelli label.

Uzelli Psychedelic Anadolu is first vinyl, CD and digital release of the series of exciting compilations and albums selected from vast archive of Uzelli.

Vinyl release: gatefold with gold print, liner notes, insert with stories behind the tracks, 180 g

CD - 12 pages booklet, slipcase








H C2 | Ünal Büyükgönenç - Deniz Üstü Köpürür (feat. Kardaslar)

Three minutes of Haitian-styled dancefloor perfection by Dominica's finest, sixty years in the business, and cattin' Latin on the flip, injected with cowbells and Rhodes.

Alma Negra is a Swiss collective that consists of four musically driven friends, the Figuiera Brothers Dersu & Diego whose roots are established firmly in their Cape Verdian heritage, Dario with his half and half Portuguese/Italian mix and finally Mario with Spanish roots.They are all passionate diggers who love playing music from all over the world, something that's evident in their productions as well. Encompassing Jazz, African and Latin sounds to Soul, Funk, Disco, House and even Techno.As far as inspiration goes they mention Donald Byrd, Fela Kuti and Theo Parrish.
Their creative output has led them to release on such fine labels as Sofrito, Highlife and most recently Basic Fingers.
Fans of Alma Negra includes Gilles Peterson, Ben UFO, Axel Boman, Detroit Swindle, Africaine 808 and Tim Sweeney.
Now they are back with Digger's Workout, a fresh and exciting instalment in the Basic Fingers catalogue - divided into three seperate 12's with remixes from Esa & Santuri, Osunlade aka Yoruba Soul, Rainer Trueby & Corrado Bucci present TRUCCY.
Digger's Workouts, Part 1 contains three original cuts and one remix from Esa & Santuri with spectacular basswork worthy of Funkadelic. If you're looking for rattling percussions, irresistible basslines, melodic synths and vocal chants that interweave and do a delicious dance with each other - look no further.
This first Part of the series is a sure-fire way to send anyone into a near shamanic state.

Lost sounds are the archives of a forgotten history. The raucously raw, Vodoun-inspired rhythms of Cotonou have confirmed Benin as a mecca of 70s Afro sounds and revived the story of its people, but the unopened vaults housing the country's catacombs of musical riches are endless. With this as our compass, Analog Africa charters its fifth expedition to Benin, traveling far north to delve deeper into the obscured repertoires and tales of the Bariba and Dendi people.

Recital release the first album of American Gamelan composer Daniel Schmidt (b. 1942). Schmidt, who emerged in the Bay Area music scene in the 1970s, wove the threads of traditional Eastern Gamelan music together with American Minimalism (repetitive music). Schmidt was (and is still) a prime figure in the development of American Gamelan music - studying and collaborating with Lou Harrison, Jody Diamond, and Paul Dresher. He currently is a teacher at Mills College, teaching instrument building.
The recordings on Flowers date from 1978 - 1982, selected directly from Schmidt's personal cassette archive. It holds two studio tracks, along with two live performances. The first track, Dawn (commissioned by composer John Adams), employs an early digital sampler provided by Pauline Oliveros. It holds the sound of a string quartet. The nature of this piece is breathtaking, an ocean of strings pulsing beneath the gliding bells of the gamelan - such a lovely interplay. Furthermore, the title track, Flowers, features the addition of a rebab, a traditional bowed instrument, which reels through the piece, netted and taught.
The final two works are strictly gamelan compositions. Ghosts is a a dynamic piece, rife with dexterous euphoria- it well displays the skillset of the percussionists heard on the LP. The closing work, Faint Impressions, is a somber elegy. Demonstrating the fragility and grace possible with the gamelan, sounding almost as an evening piano sonata
This is album is unique document from an under-represented movement of American New Music. An account of the curious beauty and woven emotions hidden within resonating pieces of metal.

Mit "Garden Of Ashes" erscheint am 03.02.2017 das neue Album von Duke Garwood via Heavenly Recordings. Es ist bereits das sechste Album in der Diskografie des englischen Multiinstrumentalisten und der Nachfolger des letztjährigen "Heavy Love". Aufgenommen wurde das neue Material in seinem eigenen "Valley Heights" Studio sowie im "Giant Wafer" in Wales - zusammen mit Produzent Strat Barrett.

REPRESSED !!
'Of all the saxophones, it is our opinion that the one with the most distinctive sound, warmth and range that can reach into that of other saxophones, is the baritone sax.'

As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognised. As well holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk and John Coltrane, with whom he appeared on Africa/Brass. But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play, Jazz in Silhouette and Nubians of Plutonia, among dozens of others.

But as a bandleader, Patrick only released one LP - the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and Rene Mclean. First issued in 1977 on Sun Ra's legendary Saturn Records imprint, Sound Advice is a deephued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia where higher adepts of the lower cosmic tones are heard in rare conference.

Unissued since original release, Art Yard Records is proud to bring this unique jazz masterpiece back into the limelight. Limited edition Heavy Weight LP with Screen-Printed Cover and inner liner notes sleeve featuring previously unpublished photographs of Pat Patrick. Released in Collaboration with the Pat Patrick estate. Remastered and restored sound. Liner notes by scholar and musician Bill Banfield

Dele Sosimi's album 'You No Fit Touch Am' was released in 2015 to much universal acclaim. A perfect document of the lessons the keyboard master and vocalist learned in Fela Kuti's ranks during the 70s and 80s, but brought firmly up-to-date and with contemporary social comment as vital to the Afrobeat genre as any rhythm or instrument. In 2016, to take that forward thinking even further, Wah Wah 45s commissioned four huge remixes from a quartet of the UK's most interesting new production names.

That was just part one of the story though - this year the label can reveal the final four remixes to be taken from this hugely popular and influential project.

Setting their sites further afield, first up is Roman turntablist and producer DJ Khalab. Since winning Track of the Year at Gilles Peterson's Worldwide Awards in 2016 for his collaboration with Baba Sissiko, this talented Italian has been very much in demand. His remix of Dele's heavy hitter 'E Go Betta' combines sprightly electronics with ear-bending bass drops to provide a forward thinking dance floor destroyer.

Along side Khalab comes new boy to the scene and a definite name to watch in 2017, O'Flynn. His debut release on Blip Records was a percussive monster and something of a head-turner, and his latest offering on his very own imprint caught the ear of Gilles Peterson, among others. O'Flynn's re-edit of 'E Go Betta', one which gives it a little more foot friendly bounce, emerged on Wah Wah 45s in digital form last year, but proved so popular that it had to be included in this heavyweight 12-inch release.

On the flip, irreverent album cut 'I Don't Care' gets two very different re-works for two very different London based producers. First up, XVI recording artist Books comes through with a firing Afro-jazz/house workout aimed directly at feet, whereas Wah Wah 45s family member and up-and-coming knob-twiddler in his own right, Bopperson, offers up a more mid-tempo tropical delight - the perfect way to complete this stunning selection of remixes.

Once again, Wah Wah 45s have delivered four tracks of killer dance floor fodder for pretty much every occasion. Taking the already incendiary music of Dele Sosimi in a more angular and electronic direction, worthy of another 12" release on this most discerning imprint, we're sure you'll agree.

Born in Hackney, East London, but soon to return to his parents' native Nigeria at the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti's shadow at the height of early 70s afrobeat. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing Fela's Glastonbury stage in 1984, and became both Musical Director for both Fela's Egypt 80 and Femi Kuti's Positive Force.

After Fela's passing in 1997, Dele went on to concentrate on his own solo career and, with diligent patience, carved out his own Afrobeat crown. In London, where he now resides, his Afrobeat Vibration all-nighters are charged with his passion, labours and his unrelenting spirit and deliver Fela classics alongside his own compositions from his first two studio albums, Turbulent Times, and Identity.

London's new Afrobeat king is here to party and you're all welcome to join in!

Previous radio support comes from Lauren Laverne, Gilles Peterson, Guy Garvey and Huey Morgan on BBC Radio 6 Music and many more worldwide.

Dele will be celebrating this release with a full live show at The Bussey Building in Peckham, South-East London on March 17thwith support from Soothsayers, DJ Khalab and Wah Wah 45s DJs.

Brand new Anatolian Psych-Pop sensation ! 4 heart-melting gems where Turkish Folk meets groove and electric action !

Young singer/multi-instrumentist Derya Yildirim teams up with fantastic drummer Greta Eacott (G-Bop Orchestra / One-Take records) and 3 quarters of Catapulte Records' Orchestre du Montplaisant (Antonin Voyant, Graham Mushnik, Andrea Piro).

With members originating from Turkey, Germany, France, Italy and Great Britain, Grup Simsek (pronounce « Shimshek ») encapsulates the Outernational generation.

Their debut EP kicks off with legendary Asik Mahzuni Serif's Nem Kaldi, a groovy lament with killer melodyline, where saz and synth wave through a stream of wah-wah guitar arpeggios.

Graham Mushnik-penned instrumental 3,2,2,3 is a 5/4 psychedelic mover lead by the acid sounds of the organ - a subtle tribute to the architects of Anatolian Rock Mogollar

On side B, Derya delivers a splendid interpretation of Özdemir Erdogan's song Gurbet.

Gurbet is a Turkish word describing a particular form of homesickness: watching from afar as things turn bad in your homeland.

Davet, a Grup Simsek composition, is a dancey, Saz-lead song likely to shake many dancefloors with emotion. The lyrics are drawn from a poem by Nazim Hikmet, father of modern Turkish poetry.

Grup Simsek have already hit the stage in Germany, UK, France, Italy and Switzerland (F.K.A. Intercommunal Orchestra) and are planning some more... Anatolian invasion on its way !

The Hoodna Orchestra is a 12 members orchestra who studies and investigates the African origins of western popular music. The Orchestra formed in 2012 in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label.

Hoodna's musical director is The Guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian', Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel.

YELBEN (from my heart in Amharic) is the new single from the Hoodna Orchestra and Tesfaye Negatu. It is a love song, reflects a painful longing for a love that is long gone.

The song was written by the Ethiopian poet and singer Demisu Belete and composed

by Ilan Smilan.

The B-side is the instrumental song BEZE ("on my side" in the ge'ez language).

Both songs recorded live in the Hoodna studio, on mostly analog equipment.

The songs convey a respectful nod to the glory days of Ethiopian jazz and pop in

Adis Abbeba, during the 60's and 70's.

The new single is the first in a series of collaborations between the Hoodna Orchestra and Ethiopian singers and musicians, both from Israel and Ethiopia.

"Although I did not think deeply about it but I felt that a certain time had come for me and I decided to produce my solo album. It was 20 years since I first started playing drums and since then, out of all the brilliant artists who live in Japan that I played with, I wanted to freely enlist players who I really wanted to create music with. The initial catalyst was my strong yearning, wanting to know, what sort of creativity would result, if I produced my own album."
This is what Keiichi Tanaka says about his intention in making this album.

In 2014, Japan's leading 8 piece Afrobeat band with a cast of characters, Kingdom Afrocks put a halt to their group activities. For the past 8 years, firmly maintaining their steady & indispensable rhythmic core to this band's energetic live performance and music, their drummer, Keiichi Tanaka became the first member of this group who will be releasing a solo album after their split. He started working on his solo album entitled, KETA IICNA HIKA on October, 2014 and finished it at the beginning of 2015.

Kingdom Afrocks were a band whose sound centered around Afrobeat and also implemented various musical styles such as Jazz, Brazilian Music, Latin, Rock, etc. and cooked up their own distinctive musical style and also managed to release 3 albums. Their frenzied live performance encompassed the overground to Japanese club scene's prestigious stages such as Fuji Rock Festival, Sunset Live, Gilles Peterson Presents Worldwide Showcase, Felabration Tokyo, Francois K.'s Deep Space which earned them a great reputation in Japan.

In addition to Kingdom Afrocks' ex-colleague, Nao Ito, OKI of Oki Dub Ainu Band and several other artists who Keiichi has recently performed with, he has also enlisted legendary Japanese Jazz piano master, renowned for the Japanese Jazz masterpiece, Watarase, Fumio Itabashi who he wanted to previously collaborate with. Furthermore, Keiichi has enlisted many African musicians living in Japan. So, along with conventional instruments, traditional African instruments such as a banjo-sounding traditional string instrument popular in countries such as Mali and Guinea, N'goni, traditional Karafuto/ Ainu instruments that OKI plays, Tonkori, and a bamboo mouth harp, Mukkur, are superbly intermingled in natural fashion. It is as if Keiichi is trying to create a compelling, new style of music by collaborating with an assorted variety of different musicians who play their unique instruments living in Japan. Furthermore, not just confined to Afrobeat, Keiichi also includes various African music and traditions such as Benga from Kenya, a lullaby from Congo, inspiration from Somaliland and Mali. Keiichi intermingles it with dub from OKI, traditional Japanese music such as his own roots music of Tenjinbayashi and traditional Ainu sounds. Also, Keiichi undertakes a Jazz- flavored cover of Afrobeat founder, Fela Kuti who he deeply reveres. As a result, Keiichi has created a deep and an unparalleled, melting pot like album that only he was able to produce. He stubbornly insisted on recording each song "live" and as such performed with his collaborators mostly in one take.

Keiichi completed this album in 2015. The record was ready to go but tragedy struck and Keiichi was taken from us by a fatal accident. KETA IICNA HIKA represents Keiichi`s musical vision, a culmination of all he had learned in this twenty years as a drummer and musician. In tribute, his family and friends have worked determinedly since Keiichi`s death to ensure that his music will reach audiences, not just in his native Japan but also across the globe.