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Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Following the critical acclaim of the 2020 compilation Pyramid Pieces, The Roundtable return with a second offering of modernist jazz from Australia. Another vital document further examining the nation's jazz scene during the late 1960s and 70s. A fertile period that witnessed the birth of an independent movement and the development of a distinct Australian jazz sound. While continuing to focus on the modal forms explored in Volume 1, this second edition shifts direction slightly, this time also surveying other post-bop modes representative of the scene including soul jazz, avant-garde ballet music and Eric Dolphy-inspired free jazz.

Again featuring tracks from the esteemed independent imprints Jazznote and 44 Records, the collection also offers never before published pieces from less obvious Australian jazz groups. Compositions by internationally renowned musicians including Bob Bertles (Nucleus/Neil Ardley), Bruce Cale (The Spontaneous Music Ensemble/Prince Lasha) and Allan Zavod (Frank Zappa) alongside pillars of the local scene, Charlie Munro and Ted Vining plus the lesser-known yet formidable free jazz unit 'Out To Lunch'. Pyramid Pieces 2 is another timely insight into the evolution of the incredible yet obscured Australian modern jazz movement.

A compilation of Australian modern jazz. 1969-1980
Rare modal, soul-jazz and free jazz from artists including The Charlie Munro Trio, Bob Bertles Moontrane, The Bruce Cale Quintet and The Ted Vining Trio.
Tip-on sleeve featuring artwork from renowned Australian modernist painter James Meldrum.

Strut presents the 1973 Egyptian jazz classic, 'Egypt Strut' by Salah Ragab and Cairo Jazz Band. The vinyl album is released in its original Prism Music Unit artwork.

Inspired by a concert in Cairo by Randy Weston in 1967 encouraging Pan African unity, drummer Ragab, Eduard “Edu” Vizvari, a Czech jazz musician, and Hartmut Geerken of Goethe Institut vowed to create Egypt's first jazz big band. Following the Arab-Israeli war, Ragab became a Major in the Egyptian army and had unparalleled access to the military's 3000 musicians spanning Upper and Lower Egypt, along with a wide range of instruments. Part of the barracks were christened the Jazz House and, following a crash course in jazz history by Geerken, the Cairo Jazz Band was born, playing their first concert at Ewart Memorial Hall at the American University in 1969. Further inspired by Sun Ra & His Arkestra's first visit to Egypt in 1971, Ragab recorded an album for the Egyptian Ministry Of Culture a year later, entitled ‘Egyptian Jazz’, later released as 'Egypt Strut', a perfect fusion of jazz with Arabic modes with tracks referencing Islamic festivals, Egyptian landmarks and friends and family dear to Ragab. The
Wire’s Francis Gooding summarises the album as “esoteric African American Egyptianism and radically spiritualised modal jazz taken up by
Ragab as the tool for a form of mystical Egyptian nationalism – a triumphalist military jazz, angled in Ra-like fashion towards the Gods of the New Kingdom.” The vinyl album is released in its original Prism Music Unit artwork and is packaged with the original house bag designs. CD version includes extra unreleased tracks and a 24 page booklet featuring unseen photos and extensive liner notes by Francis Gooding (The Wire)

Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).

Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.

The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.

A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

In 1980 the trio Humair / Jeanneau / Texier
recorded this album, which was initially intended to
illustrate an animal documentary. The trio did not
know that ‘Akagera’ would become one of the
founding moments of an aesthetic and an ethic of
French jazz which, 40 years later, remains a model
of the genre.
First of all, the instrumentation (sax / bass / drums)
is already singular for the time, then the creative
power of a trio where each musician finds a
cardinal place, very far from a mere rhythm section
accompanying a soloist. Finally, the three
musicians are also composers, each of them
contributing original themes tinged with Africa and
the Savannah, modal and mysterious World Music,
inexhaustible subjects of unbridled improvisations.

Larry de Kat joins Alexis Raphael’s recently launched Paella Hair Sex imprint with his debut EP on the label entitled ‘Radio K-Nip 4.20 FM’.

Utrecht-based DJ and producer Larry de Kat is a rising talent with releases on Slapfunk Records, Lazare Hoche, Ruff and his own Katnip imprint. The artist has built a diverse underground following with his eclectic but distinctive sound gaining support from the likes of Bicep, Mark Farina, Ben UFO and Subb-An. 'Radio K-Nip 4.20FM' explores Jazz, Hip-Hop, House and Funk, adding another impressive release to his growing catalogue.

Alexis has established himself as a critical figure within the house scene since rising through the ranks in 2011. His illustrious career has seen his material land on prestigious labels like Hot Creations, Mad Tech, Moda Black, Get Physical and Nervous, whilst remixing Disciples, Kim English, Tiger Stripes and Miguel Campbell. The recently launched Paella Hair Sex imprint is the beginning of a new chapter in the long-standing Deep House artist’s musical story. A return to vinyl in 2016 sparked the inspiration behind the vinyl-only label, now welcoming a heavyweight release from Larry de Kat this coming March.
Brief ‘cut and paste’ opener 'Tune In Turn On' features immersive drum loops, spoken word vocals and a classic flute sample, laying the way for the rest of the package. The sensational ‘J’ provides a feel-good Deep House affair, as a slick bassline sequence fuses with rising synth lines and soulful vocals to guide listeners on a hypnotic journey. The charming vibe continues on interludes - ‘The Spoiler’, ‘LoPass’ and ‘Zoned Out’ which showcase another side to the artists’ unique style, providing three stripped-back modern jazz affairs.

On the flip, Larry de Kat’s rework of Vanity 6’s ‘Nxsty Girl’ combines funk-infused melodies with taut bass guitar-riffs and loose percussion arrangements to keep the energy flowing. ‘Criminally Understated’ is a harmonic slice of old skool gospel and soul - sensual chords, soft keys and fluttering modulations rise through the cosmos, whilst the B-side interludes 'Lonnies Tune', 'Interloot' and Tribulations round out proceedings in style.

BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines. Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players - bassist Larry Ridley and drummer Lenny McBrowne - to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album. ‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama. J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Available as 2 x 2LP sets each with gatefold sleeves, extensive liners, download card & pics inside.

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Born in Paris, raised in Vienna, resident in Ibiza, saxophonist and composer Muriel Grossmann embodies the borderless, pan-continental energies of contemporary European jazz. Her music emerges from the lineage of European jazz that's absorbed the progressive music of Coltrane, Dolphy and Sanders. Today, she cites players such as Illinois Jacquet and Lester Young in the same breath as the masters of the avant-garde, and her playing marries the directness and eloquence of the older generation with the questing, spiritualised playing epitomised by Coltrane. The roster of musicians she has played with is long, and includes veteran European avant-gardists including Joachim and Rolf Kühn, Wolfgang Reisinger and Thomas Heidepriem, and she works tirelessly with contemporary groups and big bands across the continent.

Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focussed Afrocentrism. But at the centre of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. You can't play this music successfully if you don't mean it – like the music of her contemporary Nat Birchall, Grossmann's engagement with the Coltrane tradition is sincere and deep. Her music resonates within the tradition – more than just a style, it adds a new chapter to the story of modal and spiritual jazz in Europe.

This Jazzman set draws a selection from her 2016 album Natural Time ('Your Pace', 'Peace For All') and from 2017's Momentum ('Elevation', 'Chant' and 'Rising'). Featuring her regular quartet of Radomir Milojkovic (guitar) Uros Stamenkovic (drums) and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit!

- LP only with thick tip on sleeve- Download card included inside

"Timeless and innovative... a musical genius" Mike Gates, UK Vibe

"A listening experience akin to transcendence" Andrew Jones, Down Beat

"Vibrant, passionate, exhilarating. A monument of spiritual jazz" Mark Sarazzy, Impro Jazz

"A journey that takes off like missile, passes through meditation, reaches nirvana and ends with thanksgiving" Elliot Simon, NYC jazz records

"Timelessly beautiful" Christian Bakonyi, Concerto

Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. His output garners praise particularly around the Golden Pudel scene, such as Vladimir Ivkovic, and Phuong Dan. Lena Willikens, from the same circle, included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.

But where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, To The Mother Of Gods—Baltas’ debut album for Beats In Space—is something else entirely. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.

And yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “It was his very esoteric, pagan [music and] beautiful lyrics that grabbed me,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of To The Mother Of Gods were sown.

Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.

To The Mother Of Gods showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics—drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of Primal Scream circa Screamadelica.

To The Mother Of Gods is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song. To The Mother Of Gods is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.

Anatolian Weapons’ To The Mother Of Gods will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms.

Artist Highlights
• Aggelos Baltas is an Athenian music producer creating and Djing under the monikers of Anatolian Weapons, Fantastikoi Hxoi, and Dream Weapons.
• The Anatolian Weapons moniker is an outlet for Baltas to explore global music—from African to Anatolian and Middle Eastern, while also incorporating sounds from his home country of Greece.

Recorded in 1972 at the legendary Landsdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D'Silva, Cosmic Eye was a highly innovative studio experiment in which 'Jazz Meets World'. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer's Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.
Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D'Silva's soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.

Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.



NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.



This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards North Africa combining acoustic and electronic elements to create a deep modal feel and mood.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its danceoor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with ve albums and two dozen EPs plus millions of miles in the rearview of his biography.

Bunny is the name of Matthew Dear's fth album. His rst since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modanil Blues' and the buoyant, blithe, Tegan and Sara-featuring 'Bad Ones.' Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.

For Our Number 013 We Have Label Boss And Founder On Command. Kessell Delivers Four Slices Of Precise, Expertly Crafted Modern Techno. The Minimum For The Maximum Motto Works Perfectly To Describe This Ep, Nothing Is Left Over, All The Components Are Carefully Chosen To Convey Sensations And Say Something.

Linear Synth Sequences Constantly Evolving, Profound Kicks And Sharp Hi Frequencies, Continuous Arrangements And Solid Components, No Drones, No Breakdowns, No Big Reverbs. Functional Tools For The Real Players Out There.

After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.