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Two classic DJ tracks licensed from the Disco Fuentes catalogue . First up some irresistible percussive and brass heavy latin rhythms offset by those killer vocals on A La Memoria Del Muerto by one of the most successful latin outfits worldwide.... Fruko Y Sus Tesos. On the flipside an explosive, hypnotic cumbia from Combo De Los Galleros with the dancefloor winner of 'Soledad'. Essential.

Death Is Not The End reissue a rare early LP from Chilean songwriter, folklorist and visual artist Violeta Parra.

In this collection, Volume III of Parra's Folk Music of Chile series, Parra introduces us to the Cueca, a traditional folk music style and Chile's national dance, which is sung and danced at parties and festivities. Although Cuecas were played on the radio, Parra introduces listeners to popular forms of Cueca she recovered in her field work collecting traditional songs. Navigating Chile's thin land mass from Santiago to Concepción, Parra heard people in the countryside performing these songs. In her introduction, Parra identifies four types of Cueca: the short Corta, the waltz Valceada, the long Larga voluntaria, and the Balance/obligatoria where the singer individually calls on a man and then a women to dance. Casting herself in the role of ethnomusicologist, this intense musical investigation of Chile's popular folk song traditions went on to greatly influence Parra's own songwriting. The connection with her country's traditions earned her the reputation as Chile's foremost poet and folk singer.

Violeta Parra was born on the 4th October 1917 in San Carlos, Chillán, south of the country's capital Santiago. Her father was a music teacher and her mother a campesina (farmhand). Music was entwined in the family environment and she started to sing from the age of ten. After leaving Chillán to study in Santiago in 1934, she started singing traditional Latin American boleros and Mexican corridos in the capital's bars with her siblings. In 1952 Parra and her brother Nicanor began collecting and recording folk songs from the country. Eventually comprising five volumes of El Folklore de Chile, released between 1957 and 1961. In 1963, whilst in Paris, she recorded songs that would be posthumously released on Canciones reencontradas en París in 1971. These songs cemented Parra's reputation as a socially concerned song writer and included songs such as Arauco tiene una pena which describe the struggle of Chile's indigenous Mapuche people against colonialism. Another, La Carta, denounced the repression of the Jorge Alessandri's Government (1958-1964) during which Parra's brother Roberto was incarcerated for supporting striking workers. Such songs repurpose the time-signatures and phrasing of the Cueca's to make some of her most candid political statements.

As well as a musician, Parra was a practicing artist working with traditional textile techniques to make arpilleras (tapestries). She exhibited her paintings, sculptures and arpilleras at the Louvre, Paris in 1964, the first solo show by a Latin American artist. The influence of the Cueca emerges once again in Parra's last album Las últimas composiciones de Violeta Parra, 1966 (her Last Compositions) which included some of her best known songs such as Gracias a la vida. The album also serves as an auto-eulogy, Parra was giving her thanks to life before her suicide in 1967. Gracias a la vida has become an anthem for Latin Americans and has been extensively covered by artists including the Argentine Mercedes Sosa, Joan Baez and Chileans including Parra's own children Isabel Parra and Ángel Parra. Parra left an indelible mark on Chilean Music and inspired a generation of musicians of La nueva canción Chilena (The Chilean New Song). The movement celebrated the country's folk traditions and indigenous past and present with incredible social commitment for which Parra set the tone.

The last song on the first side of Parra's Last Compositions includes La cueca de los poetas (The Poets' Cueca) written by Violeta and her brother, now the established poet Nicanor Parra. The Poets' Cueca is a homage to Chile's poets Gabriela Mistral, Pablo Neruda (both nobel laureates) and Vicente Huidobro. Through the Cueca, Parra's later oeuvre is linked with her earlier field work collecting the songs in this volume. In Gracias a la vida, Parra speaks of the various gifts life gave her. In return, Parra's poetry and song gave a lot to her audience. Her voice resonates through the cultural landscape of Chile one hundred years after her birth. The 4th October, the day Parra was born, is now Chile's National Day of Music and Musicians, a testament to the mark she left on her county. Many of the songs in this volume might have been lost had Parra not tirelessly worked to preserve them. Parra's closing words on this volume speak to her generosity in helping listeners to understand more about Chilean song traditions:

"Well, here I leave you this little gift of Chilean Cuecas. I hope you listen to them again and again and that you take away some conclusions about our Cueca, as I have done through my trips to the countryside and my years collecting."

- Sebastian Bustamante-Brauning, 2017

One for the heads! A rare female vocal double header, starting with Dalila's 1968 gem 'Canto Chorando' originally released on a sort after 'compacto' 45 on Copacabana.
On the flip - a Copacabana 7' release in the form of Neyde Alexandre's 1971 song 'Perplexidade', with a fantastic break intro, horn stabs and lush vocals. One of our favourite Brazil 45's.



 

2017 REPRESS! This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with NIAGARA was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

- Jazzman Records releases the third volume of its Jukebox Mambo compilation series, artfully selected by DJ Liam Large.

- A journey through the popular American music of the 1950s influenced by exotic rumba and Afro-Latin seasoned rhythm and blues.

- Featuring rarities and unearthed gems from Percy Mayfield, Roy Gaines, Chuz Alfred, Monogram Caribbean Orchestra, and many more.

- The twenty-four track compilation comes complete with in-depth track notes and photographs, as well as a deluxe double vinyl edition with gatefold sleeve, and a super limited edition vintage style 6 x 10" book set - with unique artwork and four exclusive bonus tracks

Since the release of their first Jukebox Mambo compilation album in 2012, Jazzman Records, with the curatorial expertise of DJ Liam Large, have been opening ears and minds to the delights of Latin-tinged Rhythm & Blues. This, the third release in the series, sticks squarely to the tried and tested formula of its predecessors, combining a crate-digger's passion for the obscure with an ear for instant dancefloor crowd pleasers.

In a congested field of R&B comps, Jukebox Mambo stands out uniquely in shedding light on the era of Latin American and Caribbean influence, a sensual rhythmic shift which continues to be felt in modern music today.

Opener, The Emperor's 'Tough De Times (Things Getting Tough)' is a classic example of Large and Jazzman's idiosyncratic capacity to bring striking singularities to light, a beguiling and seductive blend of jazz, blues and Trinidadian calypso. Other highlights include the slinky rumba-blues of Percy Mayfield's lustful 'Loose Lips', the only known recording by female blues shouter Ethel Boswell on the track 'No More For You', and Chuz Alfred's powerful rendition of the Duke Ellington standard 'Caravan'. Elsewhere, Jukebox Mambo 3 is dominated by virtuosic performances, from the smooth tenor vocals of Roy Gaines to the polyrhythmic swing of the Monogram Caribbean Orchestra, and the Syrian-American jazz stylings of Eddie Kochak.

The compilation comes with in-depth track notes and photographs, is available as a deluxe double vinyl tip on gatefold as well as a super limited edition vintage style 6 x 10" book set - with unique artwork and four exclusive bonus tracks.

Lovingly compiled, artfully arranged and expertly annotated, Jukebox Mambo Volume 3 is another immersive gaze into an era of musical history that still carries a unique influence today. This one is for the crate diggers and music lovers alike!

Shamrock grew up in the township called 'Kwathema', In the east of Johannesburg. He has being crazy for music since he was a young child, and at primary school he sang as the soloist in the choir.

Everyone now knows that South Africa is the house music capitol of the world! Most young upcoming producers look up the American and European producers, But Shamrock's sound is standing out from the rest, as he's been digging into his African roots to come up with his own style of music, working with mainly South African musicians, only using the computer to record the audio.

On this album he's also featured international musicians Han Litz,Flutist from the Netherlands, Asali, vocalist from Kenya, Andy Compton, from the UK, and Jimmy Gabriel on Sax from Nigeria.

His first releases came out on a South African label in 2014.

He's well known in South Africa for his live guitar shows, normally jamming with DJ's. This is how he first met Andy Compton, and secured the Peng connection.

Shamrock was a main writing contributor for the fantastic 'Sowetan Onesteps' project, and after that success he knew the home for his album would be on Peng, which offers his sound to a worldwide audience

So here it is! Enjoy the African rhythms and sun drenched music!.

Written & Recorded in Studio 7.5, Johannesburg, South Africa

You'll turn into 'El Lobo' and bark at the moon after hearing these 2 Columbian Cumbia Bubbascope riddims!!  
For the A side, Hubbz phattens up an obscure Columbian cumbia entity, 'Cumbia de Luna' - includes a dub for the DJ's to play with.   
The B side 'Cumbia San Pablera' is street party ready! Huge cumbia flavoured carnival house jam, w/ freaky wailing vocals and funky clarinets. Heavy kicks make this lil' number thump hard in the club. 
woowoowooowoo!   

Willie Colón, who put his first full-length record out at the early age of 17, is a revered icon of salsa and bolero music, composing and performing throughout his career alongside the likes of Celia Cruz, Soledad Bravo, Rubén Blades, and even David Byrne of the Talking Heads. His numerous collaborations with vocalist Héctor Lavoe are considered some of the greatest works of Latin music of all time, and have rendered a slew of gold and platinum records. Critics tend to agree that one of his finest works came in 1970, with the release of Cosa Nuestra. Smooth and brisk tracks like "Ausencia" and the Latin club track "Che Che Colé" were huge hits among New York's barrio youths, bolstered by Lavoe's potent vocal flair, and Colón's slick, trombone-heavy production. It was their first gold-selling record, and served to cement the duo's legacy as Latin music icons.

Legendary Sax player and Composer of Latin Music SAM QURESHI has recorded this new EP of unique Bossa Nova and Samba grooves... Produced by Abbey Room/Strong Rooms Dave Pemberton.. ''Sam Q's Nightpatrol are The Beatles of Bossa Nova'' - Bruce Replogle US Manager/Publicist of John Lennon

SAM Q's Nightpatrol based in Manchester have been rocking audiences in the UK and their aura has reached worldwide.. Sam Q has played at Ronnie Scotts, Bass Clef and Jazz Café to name a few working alongside Giles Peterson in the 80s to help establish the London Jazz Dance Scene with the cult ''The Cavemen''- Sam Q's songwriting abilities have captured both musicians and Industry Officials on a global level.. Sam Q's album ''Samba of Love'' signed to Brazillian label Grooveland Music with the follow up ''Love Spring Fountains'' featuring Gibi Dossantos of Sergio Mendes.. a further 2 tracks featured on Mo Jazz 2 Compilation on Acid Jazz Records ...

Prior to his death some years back the Legendary President/Guru of Blue Note Records in NYC Bruce Lundvall contacted Sam Qureshi to express a interest in his great Jazz /Bossa Nova sound phoning Guy Hayden at the London Office to arrange a meeting.. Verve Guru Scott Morin said about his sound '' interesting concept both as a songwriter and saxophone player'' - Londons owner of ''Straight No Chaser'' Magazine Paul Bradshaw ''Exporting Bossa Nova from Manchester to Brazil'

''The Magnetic Lunchbox'' is highly anticipated not only in the Latin genre but in music generally with tracks that will lead the market place check out the dance floor filler of ''Pele's Groove'' against the hypnotic alluring vocals of ''Jessington Place'' - A Unique and fresh uptake on Bossa Nova and Samba that will satisfy the thirst of the genre itself but also a creative volcano that will breath a new ecelectic life to Bossa Nova!

Historical Italian Jazz session originally released on legendary vinyl LP from 1973. An outstanding and magnificent Jazz Funk jewel and the first album ever by this killer combo led by Dino Piana & Oscar Valdambrini. An original Jazz Library recording used for the soundtrack of Rai TV programme "SERATA AL GATTO NERO", 1973. Top Italian groovy Jazz and mental album, easily a grail of the genre featuring some terrific breaks, killer Wah Wah guitar and Funky Hammond job, with a solid backing studio orchestra. Loads of laden stylish grooves with brilliant Modal Jazz numbers, smooth vibes, and Cool Jazz influences with different musical themes. Every track is just heaven with several hot club tunes for DJs. Solid masterpiece!

Released in 1970, this was the third album from Os Mutantes, the geniuses of wacked out Brazilian psychedelic rock. They may have been trying to pay homage to their better known icons back in the States, but in doing so they created something that went beyond all that until, 30 years later, they became the ones that everyone was trying to imitate. This album, further testimony to their limitless creativity and considered by many to be their best, was recorded during the height of the Brazilian military regimes crack down on artists, and fellow members of the Tropicalia movement, Caetano Veloso and Gilberto Gil had already been sent into exile in the U.K. Available here on 180 gram LP.

Death Is Not The End reissue a rare early LP from Chilean composer, songwriter, folklorist, ethnomusicologist and visual artist Violeta Parra.

In this collection, Volume III of Parra's Folk Music of Chile series, Parra introduces us to the Cueca, a traditional folk music style and Chile's national dance, which is sung and danced at parties and festivities. Although Cuecas were played on the radio, Parra introduces listeners to popular forms of Cueca she recovered in her field work collecting traditional songs. Navigating Chile's thin land mass from Santiago to Concepción, Parra heard people in the countryside performing these songs. In her introduction, Parra identifies four types of Cueca: the short Corta, the waltz Valceada, the long Larga voluntaria, and the Balance/obligatoria where the singer individually calls on a man and then a women to dance. Casting herself in the role of ethnomusicologist, this intense musical investigation of Chile's popular folk song traditions went on to greatly influence Parra's own songwriting. The connection with her country's traditions earned her the reputation as Chile's foremost poet and folk singer.

Violeta Parra was born on the 4th October 1917 in San Carlos, Chillán, south of the country's capital Santiago. Her father was a music teacher and her mother a campesina (farmhand). Music was entwined in the family environment and she started to sing from the age of ten. After leaving Chillán to study in Santiago in 1934, she started singing traditional Latin American boleros and Mexican corridos in the capital's bars with her siblings. In 1952 Parra and her brother Nicanor began collecting and recording folk songs from the country. Eventually comprising five volumes of El Folklore de Chile, released between 1957 and 1961. In 1963, whilst in Paris, she recorded songs that would be posthumously released on Canciones reencontradas en París in 1971. These songs cemented Parra's reputation as a socially concerned song writer and included songs such as Arauco tiene una pena which describe the struggle of Chile's indigenous Mapuche people against colonialism. Another, La Carta, denounced the repression of the Jorge Alessandri's Government (1958-1964) during which Parra's brother Roberto was incarcerated for supporting striking workers. Such songs repurpose the time-signatures and phrasing of the Cueca's to make some of her most candid political statements.

As well as a musician, Parra was a practicing artist working with traditional textile techniques to make arpilleras (tapestries). She exhibited her paintings, sculptures and arpilleras at the Louvre, Paris in 1964, the first solo show by a Latin American artist. The influence of the Cueca emerges once again in Parra's last album Las últimas composiciones de Violeta Parra, 1966 (her Last Compositions) which included some of her best known songs such as Gracias a la vida. The album also serves as an auto-eulogy, Parra was giving her thanks to life before her suicide in 1967. Gracias a la vida has become an anthem for Latin Americans and has been extensively covered by artists including the Argentine Mercedes Sosa, Joan Baez and Chileans including Parra's own children Isabel Parra and Ángel Parra. Parra left an indelible mark on Chilean Music and inspired a generation of musicians of La nueva canción Chilena (The Chilean New Song). The movement celebrated the country's folk traditions and indigenous past and present with incredible social commitment for which Parra set the tone.

The last song on the first side of Parra's Last Compositions includes La cueca de los poetas (The Poets' Cueca) written by Violeta and her brother, now the established poet Nicanor Parra. The Poets' Cueca is a homage to Chile's poets Gabriela Mistral, Pablo Neruda (both nobel laureates) and Vicente Huidobro. Through the Cueca, Parra's later oeuvre is linked with her earlier field work collecting the songs in this volume. In Gracias a la vida, Parra speaks of the various gifts life gave her. In return, Parra's poetry and song gave a lot to her audience. Her voice resonates through the cultural landscape of Chile one hundred years after her birth. The 4th October, the day Parra was born, is now Chile's National Day of Music and Musicians, a testament to the mark she left on her county. Many of the songs in this volume might have been lost had Parra not tirelessly worked to preserve them. Parra's closing words on this volume speak to her generosity in helping listeners to understand more about Chilean song traditions:

"Well, here I leave you this little gift of Chilean Cuecas. I hope you listen to them again and again and that you take away some conclusions about our Cueca, as I have done through my trips to the countryside and my years collecting."

- Sebastian Bustamante-Brauning, 2017

ANDINA 7 is a limited edition, double-sided 7' picture disc featuring two gorgeous dishes from the Peruvian Andes and two tropical Peruvian bangers by Los Compadre del Ande (Cumbia) and La Peruanita (Huayno). Both tracks were recently discovered as part of a recent haul, by Tiger's Milk and Strut, undiscovering a wealth of dust-laden cumbia Andina, huayno and carnaval.

Both tracks feature on the compilation release ANDINA: Huayno, Carnaval and Cumbia - The Sounds of the Peruvian Andes 1968-1978 slated for release on Tiger's Milk/Strut on October 20. The picture disc images are of Peruvian dishes with recipes that feature in the cookbook ANDINA - written by Martin Morales, pioneer of Peruvian cooking in the UK, to be published by Quadrille in early October.

ANDINA 7 immerses the listener into the full-blooded, upbeat and captivating spirit of music from the Andes shining a fresh perspective on Peru's musical heritage. It will appeal to fans of cumbia Latin and world as well as tropical-minded DJs and deep-digging collectors. It aims to upend clichéd ideas of Andean music and brings to light the divergent, exciting traditions to have emerged from Peru's strip of the iconic mountain range.

La Mecedora by Los Compadres del Ande is a steady-grooving vocal cumbia and was originally released in 1966 on the album Happy Cumbia, but this version comes from the 7' released two years later. The group were well known as the Andean version of The Beatles with their unconventional look and are regarded as precursors of Peruvian cumbia. Recuerda Corazón by La Peruanita is a track driven by a huayno groove - the pervading rhythm from the Andean mountain range. With transcendental harp and female vocals sung in Quechua, you can imagine this song taking centre stage at local pueblo carnavals.

Peruvian chef, restaurateur and music producer Martin was born in Peru and lived there until he was a teenager before settling in the UK. In recent years he has travelled frequently to the Andes in search of recipes, records, sounds and inspiration for a variety of projects which he and his London based team have presented. Tiger's Milk is dedicated to uncovering Peruvian music past and present and it has, garnered support from the likes of Mr Scruff, Basement Jaxx, Mala, Gilles Peterson, Jack Steadman (Bombay Bicycle Club) and Osunlade. The launch of this compilation coincides with a cookbook release, also titled ANDINA.

- For fans of jazz, Latin and cumbia as well as tropical-minded DJs and deep-digging collectors
- First in a three part regional series of albums from exploring Peru's diverse musical heritage
- The official single from Tiger's Milk/Strut's new album ANDINA: Huayno, Carnaval and Cumbia - The Sounds of the Peruvian Andes 1968-1978 to be released on October 20th on Double LP, CD & Digital.
- Martin Morales is the chef, restaurateur and founder of Peruvian restaurants, Ceviche and Andina in London. Martin is a pioneer of Peruvian food in Britain and is the GQ Food & Drinks 2017 Innovator of the Year award winner.

The boogaloo is an infectious and little-defined dance that dominated American dance records in the mid-60s. It was the joyous place where young black and Latin youths met and made sweet music. All previous Boogaloo compilations have focused on the Latin aspect, Let's Do The Boogaloo' looks at how the music crossed over between the two.

The boogaloo craze started in Chicago with a record by Tom & Jerryo, but it proved to have an enduring legacy with its hit-making potential running from 1965 through to 1968 - much longer than any other comparable dance. Our earliest records - The infectious 'Ready Steady Go' by Prince & Princess, produced by Rolling Stones producer Jimmy Miller - kicks us off with a frenetic beat and some Latin horns. It is the perfect boogaloo crossover.

Elsewhere we feature big sounds from both the soul and Latin side of the music. Club classics by the likes of Hector Rivera and Roy Lee Johnson, and obscurities by The PS 54 School Yard and Shirley Butler. The musical aspects of this compilation hail from as far apart as Texas and Detroit and Philadelphia and LA, where we found the previously unreleased Bob & Earl Band 'Boogaloo'.

The extensive sleeve notes explain the story of the dance and how the music adapted to it. Bringing together the many strands and explaining what connects Chubby Checker, Charlie Palmieri, Mongo Santamaria and Jimmy Castor. This is musical and dancefloor dynamite that brought together communities, and Let's Do The Boogaloo' is the definitive compilation from the genre.

Recorded July 24, 1962 at the 3rd International Jazz Festival D'Antibes/Juan-Les-Pins, this is classic 1960s Dizzy. It's smooth and swinging without losing any of his patented power. Produced by Quincy Jones, and featuring piano and arrangements from Argentinian master Lalo Schifrin, Gillespie shines here alongside underrated reed man Leo Wright. A great early 60s Dizzy group absolutely slaying live to a receptive audience.

Athens of the North does not release new material very often, when we do it has to be up to standard and Grupo Magnético most undeniably up to standard.

Recording a sound from a certain period is notoriously difficult to pull off, Grupo Magnético smashed that 70s boogaloo sound so much so people I played the tapes to thought it was old tapes I had dug up.

As with the previous volumes, the third edition is also released on this ultra limited, lavishly produced 1940s style 6 x 10" album set which boasts four exclusive extra tracks. Issued with extensive biographical notes and exclusive photographs.

With the release of their debut LP in 1968, Os Mutantes cracked the already red hot Tropicalia scene wide open. Fusing traditional Brazilian music, psychedelia, rock and a good dose of pure experimentation, they quickly became giants both in Brazil and in the outer fringes of pop music, where they have managed to reign supreme for the past four decades. Not an easy task in such a crowded arena. Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Tom Zé, AND Os Mutantes What do these people put in their drinking water The band went on to release several more albums, but this one was their magnum opus. Now with bonus CD of the album and full OBI "bookmark" Japanese style.

Right after LA POLIZIA INCRIMINA, LA LEGGE ASSOLVE (HIGH CRIME), the magic duo of Italian poliziotteshi conceive yet another highlight of the genre - the groovy, melancholic score of MILANO TREMA: LA POLIZIA VULE GIUSTIZIA (THE VIOLENT PROFESSIONALS, 1973), which perfectly sets the tone of metropolitan violence presented on the screen. A dramatic sound, which preludes the acidprog and gloomy music created for IL GRANDE RACKET (THE BIG RACKET) just three years later, with lots of flutes, clavinet, frenzied percussions, deep basslines and experimental effects.

The result is a disturbing atmosphere of suspence, always on the verge of exploding in deep piano notes that highlight the most violent moments of the film. With the main theme Blue Song', repeated several times with endless instrumental variations, the De Angelis brothers set a dark-romantic atmosphere which becomes a manifesto of disenchantment and the perfect accompaniment for the detective story.

Four Flies Records, in collaboration with Bloodbuster Edizioni, is proud to present the complete soundtrack for the first time on vinyl (only the two songs of the movie were published before on a 7''-inch by RCA), featuring exclusive liner notes by the film's director,

Sergio Martino.

Esquivel is widely considered the king of a style of late 1950s early 1960s instrumental pop known today as lounge music. His orchestration tended toward the very lush, employing novel instrumental combinations such as Chinese bells, mariachi bands, whistling, and numerous percussion instruments blended with orchestra, mixed chorus, and his own heavily ornamented piano style.

"The King of Space Age Pop...Esquivel's use of stereo recording is legendary."

The period cover of "Other Worlds, Other Sounds" says it all. Like the woman in red dancing on a moonscape, this 1958 LP was all about fantasy. Esquivel wasn't afraid to fantasize about his instrumentation nor the new audio sound known as "stereophonic or Hi Fi". At the time, Esquivel was using this new technique to its fullest by arranging the music in a unique manner as well as considering right channel-left channel. Voices ring back and forth between speakers, horns explode out of nowhere and piano sounds cascade out of the stereo. This is what hi-fi was all about. It is seamless, quite enjoyable and rather magical.

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.

The passionate Cecilia Noël returns with the vinyl edition of her Havana Rocks album, a Latin-infused collection of American classics recorded in Havana Cuba, with special permission from the US Government, with an all Cuban cast of musicians and singers.

Together, Noel and crew combine elements of salsa, soul, jazz, funk, and afro-cuban music to deliver an infectious Latin takes on 80's classic rock 'n roll hits. The album includes covers of Devo's Whip It,' Gary Numan's Cars' and ACDC's You Shook Me,' all propelled by deep percussive grooves and Noël's rich and appealing alto vocals. Says Noël of her style, I call what I do 'hardcore salsa' because nowadays there is a lot of romantic salsa but I'm more of a punk salsa singer.'

Originally from Lima, Perú, Noël was discovered by Stan Getz and moved to New York City, briefly performing as a dancer with Jo Jo's Dance Factory and Menudo. In 1989, she relocated to Los Angeles and became involved in the local music scene. She formed Cecilia Noël and The Wild Clams, a James Brown meets Pérez Prado type band, which received instant acclaim for their explosive live shows and frequent bookings at the House of Blues and the Playboy Jazz Festival. In 2009 Noël released A Gozár! (Compass Records), an infectious set of playful 'salsoul' grooves for which Noël is known and which earned Noël a spot on Putumayo's critically-acclaimed Latin Party release in 2010. In addition to her band, Noël also performs and records with husband and former Men At Work front man Colin Hay.

A new leading lady of salsa.' —Hispanic Magazine

Noël is a storyteller and an actress, and her powerful combination of lyrics and vocals will send you into spasms of pleasure.' —Latin Beat

Noel combines the joy and rich sound of Celia Cruz with the sass of La Lupe, the glamour of La India, the independence of Albita, and the soul of Aretha...' —Descarga

Brazilian mid tempo boogie double header. We've been playing these two out for the last couple of years and they are firm favourites.
'E Novamente Mas Que Nada' is the opening track from Reseda's 1979 album on Som Livre. An ultra catchy vocal hook, boogie guitars and synths lead into a piano and cuica breakdown and horns to finish. One of the finest in the genre in our
opinion.
'Ginga' is taken from Robson Jorge & Lincoln Olivetti's self-titled
masterpiece, reissued on Mr Bongo. Arguably the most immediate and club friendly track from the album, it always turns heads. Another premium example of Brazilian boogie from the masters of the sound and producers for the likes of Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more.



 

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.

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.

Originating from Lima, Peru - Sabor y Control has been holding the torch for classic salsa dura and descarga in their home country for the last 17+ years, churning out an unprecedented 7 studio albums and countless live shows and festivals. Led by saxophonist Bruno Macher and a talented orchestra of the highest order, the group maintains a steadfast dedication to the roots of the genre while maintaining a particular vision and style throughout their own original compositions. They have been a rare beacon of light for modern Salsa Peruana and salseros throughout South America. Now, they've teamed up with Brooklyn's Names You Can Trust to produce their first ever vinyl release to showcase internationally. This pair of sure shot salsa bombas feature incredible arrangements & writing that are at once deep, uplifting and primed for the dancers. It's a superb taster of tunes remixed and remastered exclusively for 7-inch vinyl play.

(180 gr) Mark Barrott steps away from the Balearic sound he's become synonymous with to take a journey back to the territory he first explored with Bepu N'Gali. The Pathways Of Our Lives is a joyous, life affirming piece of 70's Afro Soul with amodern twist, continuing Barrott's love affair with African Polyrhythms and 70's Philly Strings.
It's also the first time since 2014's aforementioned Bepu N'Gali release that he has worked with a full band and sees The Grünewald Quartet return to string duties after collaborating on Barrott's Sketches from an Island 2 album last year.

The Bside, Music for Santoor, Bansuri, Tanpura y Sarod is another track recorded live during one of his spring meditation sessions in Northern Ibiza, with India's Vishnu Quartet performing a 2 hour piece with Barrott directing and later editing it down into the form you hear today.

After a busy and productive first half of 2017 in which Barrott released his Music for Presence EP and two Talamanca System releases, this summer sees Mark Barrott step into high gear with his work at La Torre in Ibiza, where he is sunset resident and has compiled the second edition of their compilation
series (last year's debut charting high in best mixes of the year by Resident Advisor).

Pathways invites the listener inside Barrott's mystical world, where stillness and meditation are the foundations, non-attachment and non-judgement are the windows, and through the music he mindfully sketches a vista into the next chapter in his career.

Pitchfork calls International Feel's "Pathways Of Our Lives" incredible. Hell of a track.

Gypsy rumba-funk & flamenco pop courtesy of Trigal, the grooviest & funkiest band from the Spanish '70s rumba scene. 13 tracks taken from their sought after LPs and 45s, originally released on the legendary Belter label, 1976-77. Heavy drums, percussion, deep bass, wah wah, electric guitar, horns, funk / blaxpoitation touches, gypsy female vocals...

This 20 song hits package brings together the bands biggest songs including the massive hit singles "Volare" & "Bamboleo". National TV ad campaign across all networks. Radio ads & spot plays. Press ads & reviews. Online campaign.

MOOCHIN' ABOUT, NEW ORTHOPHONIC' HIGH FIDELITY RECORDING, BRINGS YOU...

MAMBO FOR CATS+10!
Damiron, Don Elliott, Tony Martinez, Noro Morales, Perez Prado, Al Romero, and their orchestras

Plus 10 classic mambo tracks as bonus downloads..!

Including... Isla Verde / Noro Morales / Mambo 5 / Perez Prado / Mambo 8 / Perez Prado / Mississipi Mambo / Noro Morales Y su Orchestra Mambo en Sax / Perez Prado /Mambo Del Politecnico / Perez Prado / Mambo En Trompeta / Perez Prado / Hollywood Mambo / Tony Martinez quintet / Black Magnolia / Perez Prado / Broadway Mambo / Perez Prado

'Man, it's time to bolt down the furniture and kick back the rugs. This is no time to be a drag - let down your hair, roll up those trousers and start swingin'! This is the righteous stuff for all you jazzbos - mambo for cats - and, man, if you're not a jumpin', rockin', screamin' cat by the time this record ends, there's just no hope - you're dead...!

We've assembled just about every fast-movin' mambo out in the game, lighted are under their respective music stands and, brother, the results are absolutely the livin' end. They just have to be, for this is music that moves and moves and never gives up - it's the greatest, man, it's the most frantic, it's the hippest! And any of you deluded hipsters who thought the Latins could play nothing but guitars are sure livin' somewhere in the middle ages...!'

Jim Flora was an artist, best known for his distinctive and idiosyncratic album cover art for Columbia Records and RCA Victor from the 1940s through the 1970s. His abstract creations are almost Picasso-esque at times and have a dynamic suggestion of motion that pairs well with music—especially Jazz & Classical...

Over the next year ,together with Irwin Chusid , Author/Editor and biographer of all things Flora, plus the Jim Flora website - and Barbara Economon who lovingly restored all Flora's wild & wacky album covers, Moochin' about will be re-issuing a series of special edition boxset's, LP's, featuring all the Columbia & RCA Victor recordings, including some of the finest Jazz and Classical recordings ever, as well as some hidden gems, in sensational celebration of The Wizard Of The Foot Square Canvas...

So to get us started, a classic Mambo Collection. An ultra rare LP, featuring some of the greatest Mambo artists ever and one of the most Iconic Flora album covers ever - MAMBO FOR CATS, which was originally released on RCA Victor, now digitally re-mastered for release on LP, plus 10 extra mambo classic's via download link ...

And as hipster, BILL ZEITUNG says in his mad, beatnik style sleeve notes... 'When the mambo meets jazz, man, don't run for cover - just stand your ground
and swing with the rest - but above all else, friends, STAY LOOSE! '

In 1988, on the eve of a two decade civil war, Somalia's authoritarian ruler Siad Barre launched punishing air strikes on the north of the country, known today as Somaliland, in response to agitations for independence. The bombing leveled the entire city. Barre targeted Radio Hargeisa to prevent any kind of central communication system that could organize a resistance.

With the attack imminent, a few brave radio operators and dedicated vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed from the soon-to-be targeted buildings. They were dispersed to neighboring countries like Djibouti and Ethiopia, and buried deep under the ground to withstand even the most powerful airstrikes.

"We buried them in the ground so the bomb's won't hit," one former leading journalist with Radio Hargeisa told us.

These audio artifacts were excavated and recalled from their foreign shelters only very recently. Some of those recordings are now kept safe in the 10,000-strong cassette tape archive of the Red Sea Foundation, the largest collection of Somali cassettes in the world, in Somaliland's capital, Hargeisa. The Ostinato Records team digitized a large portion of the archive, distilling 15 songs that reveal the panoramic diversity of styles and sophistication of Somali musicianship.

Over a millennia of trade in the Indian Ocean invited the cultures of the Arabian Peninsula, Persia, India, Southeast Asia, and even China to slowly work their melodies, scales, and sounds into Somalia's rich musical repertoire. Each track is a keen illustration of a carefully refined, rarely revealed cultural crossroads of the world.

The archive offered a living window to the Mogadishu of the 1970s and 1980s, when the coastal capital glistened as the "Pearl of the Indian Ocean," when wine flowed freely. With its iconic ivory-colored architecture and crescent beaches overlooking the Indian Ocean, Mogadishu was home to the lavish Al Uruba and Jazira sea side hotels, where youthful bands like Iftiin, Sharero, and Dur Dur serenaded cosmopolitan crowds at some of the most elegant nightclubs in East Africa. These damaged cassettes evoked memories of the revered national theater, where Waaberi Band provided unforgettable soundtracks.

Mogadishu's nightlife culture was rich and booming. Raucous rhythms, rugged horns, celestial synthesizers, and stalking baselines came alive alongside majestic voices like Mahmud "Jerry" Hussen and powerful and adored female singers like Faadumo Qaasim, Hibo Nuura, and Sahra Dawo. Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates. Poetry, intrinsic to the cultural fabric, forms the foundation of Somali songwriting.

Somali music's golden age, curiously, occurred under a socialist military dictatorship, which effectively nationalized the music industry. A thriving scene was owned entirely by the state. Music was recorded for and by national radio stations and only disseminated through public broadcasts or live performances. Private labels were virtually non-existent. This music was never made available for mass release. Almost all recorded material came from original masters or homemade recordings of radio broadcasts. As a result, most of it has never been heard outside Somalia and the immediate region.

During the Cold War, Somalia drifted between Soviet and American support — and a decade of U.S. backing allowed soul and funk to capture the imagination of Somali youth, adding the final touch on this masterpiece era.

This project took our team to Mogadishu, Hargeisa, Djibouti, and across the Somali diaspora in Europe, the United States, and the Middle East. For the last year, from Minnesota to Mogadishu to Malaysia, we have tracked down the musicians, songwriters, composers, former government officials, and quirky personalities that colored Somali music life. Their words and stories are revealed in a 15,000-word liner note booklet — the only document of its kind to cover this era of Somali music in depth.

Alongside the story of Somalia's music before the civil war, the selection is also focused on the pan-Somali sound. Spread over much of the Horn of Africa, Somali language and culture transcend arbitrary borders. Somali singers from Djibouti were at home in Mogadishu.

This compilation seeks to revive the rightful image, history, and identity of the Somali people, detached from war, violence, piracy, and the specter of a persistent threat. These 15 tracks should serve as a necessary starting point.

In 1988, on the eve of a two decade civil war, Somalia's authoritarian ruler Siad Barre launched punishing air strikes on the north of the country, known today as Somaliland, in response to agitations for independence. The bombing leveled the entire city. Barre targeted Radio Hargeisa to prevent any kind of central communication system that could organize a resistance.

With the attack imminent, a few brave radio operators and dedicated vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed from the soon-to-be targeted buildings. They were dispersed to neighboring countries like Djibouti and Ethiopia, and buried deep under the ground to withstand even the most powerful airstrikes.

"We buried them in the ground so the bomb's won't hit," one former leading journalist with Radio Hargeisa told us.

These audio artifacts were excavated and recalled from their foreign shelters only very recently. Some of those recordings are now kept safe in the 10,000-strong cassette tape archive of the Red Sea Foundation, the largest collection of Somali cassettes in the world, in Somaliland's capital, Hargeisa. The Ostinato Records team digitized a large portion of the archive, distilling 15 songs that reveal the panoramic diversity of styles and sophistication of Somali musicianship.

Over a millennia of trade in the Indian Ocean invited the cultures of the Arabian Peninsula, Persia, India, Southeast Asia, and even China to slowly work their melodies, scales, and sounds into Somalia's rich musical repertoire. Each track is a keen illustration of a carefully refined, rarely revealed cultural crossroads of the world.

The archive offered a living window to the Mogadishu of the 1970s and 1980s, when the coastal capital glistened as the "Pearl of the Indian Ocean," when wine flowed freely. With its iconic ivory-colored architecture and crescent beaches overlooking the Indian Ocean, Mogadishu was home to the lavish Al Uruba and Jazira sea side hotels, where youthful bands like Iftiin, Sharero, and Dur Dur serenaded cosmopolitan crowds at some of the most elegant nightclubs in East Africa. These damaged cassettes evoked memories of the revered national theater, where Waaberi Band provided unforgettable soundtracks.

Mogadishu's nightlife culture was rich and booming. Raucous rhythms, rugged horns, celestial synthesizers, and stalking baselines came alive alongside majestic voices like Mahmud "Jerry" Hussen and powerful and adored female singers like Faadumo Qaasim, Hibo Nuura, and Sahra Dawo. Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates. Poetry, intrinsic to the cultural fabric, forms the foundation of Somali songwriting.

Somali music's golden age, curiously, occurred under a socialist military dictatorship, which effectively nationalized the music industry. A thriving scene was owned entirely by the state. Music was recorded for and by national radio stations and only disseminated through public broadcasts or live performances. Private labels were virtually non-existent. This music was never made available for mass release. Almost all recorded material came from original masters or homemade recordings of radio broadcasts. As a result, most of it has never been heard outside Somalia and the immediate region.

During the Cold War, Somalia drifted between Soviet and American support — and a decade of U.S. backing allowed soul and funk to capture the imagination of Somali youth, adding the final touch on this masterpiece era.

This project took our team to Mogadishu, Hargeisa, Djibouti, and across the Somali diaspora in Europe, the United States, and the Middle East. For the last year, from Minnesota to Mogadishu to Malaysia, we have tracked down the musicians, songwriters, composers, former government officials, and quirky personalities that colored Somali music life. Their words and stories are revealed in a 15,000-word liner note booklet — the only document of its kind to cover this era of Somali music in depth.

Alongside the story of Somalia's music before the civil war, the selection is also focused on the pan-Somali sound. Spread over much of the Horn of Africa, Somali language and culture transcend arbitrary borders. Somali singers from Djibouti were at home in Mogadishu.

This compilation seeks to revive the rightful image, history, and identity of the Somali people, detached from war, violence, piracy, and the specter of a persistent threat. These 15 tracks should serve as a necessary starting point.

The new Album featured by Candy, consist of 10 Latin / Reggaeton Songs that will make you dance throughout all Summer 2017.

'Creation One' is a stunning eight track, jam packed album, so elusive but full of pure joy! Invigorating, stimulating, delightful, a treasure of rhythms grooves and breaks! 'Sombre Guitar' is the favourite to many, especially DJs! In the 1970's, composer and multi-instrumentalist John Danser formed Danser's Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. At age 14 John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. He later went on to have an extensive musical career and at one point served as a bandleader at Concord hotel, during the Borscht Belt era, where he played for Sammy Davis jr., Milton Berle, Bob Hope and Judy Garland. - Rachel Kinoti

Chega de Saudade' (1959) was the debut album from João Gilberto and is often credited as the first bossa nova album. In 2001, the album was inducted into the Grammy Hall of Fame. In the same year, it was made an inaugural member of the Latin Grammy Hall of Fame. João Gilberto' (1961) is filled with genius staples in the 'bossa nova canon' - O Barquinho', Você e Eu,' and Insensatez' for example. Gilberto is one of the most musical of our popular singers, predicated which widely compensates his small voice volume. He reveals an unorthodox good taste for the choice of the melodies.