quête:peter funk

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies.


Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset.

On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab.

Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR.

Enjoy the ride.

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

Original pioneers of rare groove, PUSH, make a welcome return with an existing and exciting album. Originally released in 2004, now 20 years later it’s still alive and kicking. “Push People” is a cross pollenation of classic underground rare groove and contemporary feel good funk n' soul in the shape of heartfelt songs and incredible instrumental pieces. PUSH emerged from the underground London club scene in 1987, where they were at the heart of a community that thrived on JB inspired Funk, Blaxploitation soundtracks and raw soul-jazz. Push toured Europe and Japan and were regulars onstage at Gilles Peterson's legendary Dingwalls’ Talking Loud & Saying Something sessions. They have worked with the likes of Style Council's Paul Weller and Mick Talbot and have long provided the soulful foundation for the regular European tours of US divas like Candi Staton and Marlena Shaw. The triumvirate of key band members Crispin Taylor (drums), Ernie McKone (bass) and Mark Vandergucht (guitar) also doubled up as the rhythm section for the innovative Galliano – a conscious and wayward band that sold in excess of 800, 000 albums. PUSH are one of the mainstays of the Eighties Rare Groove and Acid Jazz scene alongside Brand New Heavies, Young Disciples and Soul II Soul. PUSH is on a mission, bringing a breath of fresh air and a wealth of musical experience into a very popular scene for people that "Feel the Funk!"

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compilers spotlight for the 33rd edition is Simon Green - aka Bonobo - a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (most recently 'The North Borders' released earlier in 2013), Green has been on a winning streak since 2010's breakthrough 'Black Sands', which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green's music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne's mournfully beautiful 'Juliet' and Dustin O'Halloran's 'An Ending A Beginning'. The brass section comes courtesy of Menehan Street Band's jazzy 'The Traitor', 'Flipside' by the Hypnotic Brass Band. Exclusives include YouTube sensation 'One Thing' by Peter & Kerry . Not only that, but there's Bonobo's special LNT cover version, a brilliant reading of Donovan's 'Get Thy Bearings', As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front's 'Gigantic' or even Nina's paean to an imagined rural idyll 'Baltimore'. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water's surface. Sometimes, you think, life is good. You can't play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

Repress.
The German boogie compilation 'Boogie on the Mainline' presents a selection of 10 rare disco tracks from Germany plus one more tune from Austria, all of them, originally released between 1980 and 1987. Check!
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The fully licenced album contains little known tunes by groups like Imagination (which you can also see on the cover of the LP), Squish, Upstairs, The Poptown Syndicate and more. As the Boogie-ish post-disco side of German music history still basically remains undiscovered as of yet, 'Boogie On The Mainline' hopefully will shed some light again on 11 rare gems that were mainly published on small or private labels.

Mirror Mirror is the new album by the Finnish jazz legend, pianist-composer Olli Ahvenlahti. Championed by the likes of Gilles Peterson and Kenny Dope, Ahvenlahti is a master of hard-grooving jazz funk. Here, he continues the evolution of his style, much-beloved since the legendary 1970s albums such as The Poet and Countenance. Ahvenlahti"s new group highlights some of the best talent on the Finnish scene, including trumpeter Jukka Eskola, saxophonist Joonatan Rautio, bassist Ville Herrala and drummerJaska Lukkarinen.

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc. Another vinyl is pressed as a gold disc.

2024 RSD Release

The ascending soul sensation Fat Generous embarks on a heavenly collaboration Wai Wan. This record is an invitation to their soulful world of jazz influenced funk and R&B, Fat Generous have been making waves in their hometown playing alongside the likes of Fatboy Slim and Sister Sledge, and their raw onstage energy has gained the stamp of approval from the godfather funk himself, George Clinton. Recorded at the height of a record breaking heatwave, Fat Generous have captured the blissful respite of a 'NightTime Cool Breeze' in a silky laid back groover that formed their debut single back in September. Amassing over 30,000 streams in the first month, alongside radio play and feedback from the likes of Craig Charles & Giles Peterson. Channeling carefree vibes reminiscent of Roy Ayers’ 'Everybody Loves The Sunshine'. On the second side a Record Store Day exclusive track 'Shake Your Body Down' 'Shake Your Body Down' is an unparalleled journey through the funk filled cosmos, a collector's dream that pays homage to the pioneers of funk while paving the way for a new era of groove. This release is the precursor to a bigger release schedule for the band a good vibes only DIY recording project that has been produced by legendary nujazz producer, Wai Wan, whose fingerprints can be found all over releases on Chrysalis Records and Virgin Records. This record is a scene setter that introduces you to the groovy rhythms that Fat Generous deliver in excess at each of their live shows unique performances that lean on the group’s tight knit ability to improvise and reimagine their own music. Limited edition heavyweight 7 inch vinyl in a picture sleeve. Get the debut release and you're ahead of the curve.

Did you know that for decades, record collectors across the Dutch-speaking region have overlooked a significant portion of their own musical heritage while avidly searching for rare grooves and breaks in bins filled with more exotic music? It's a fact! And that's where Harde Smart comes in. After delving deep into dusty crates of Belgian and Dutch music, Harde Smart's inaugural compilation in 2019, dedicated to music from the 1970s, brought to light a selection of smooth, jazzy, funky, and soulful gems from Flanders (the Dutch-speaking part of Belgium) and Holland. In addition to exquisite grooves and hard-pounding drums, these songs shared Dutch lyrics, offering a unique compilation of lyric-driven Flemish and Dutch music from back in the days.

Yet, nothing is as certain as the unexpected. This compilation marked the first time a Dutch album uncovered the authentic Afro-American funk and soul vibe, which, albeit sporadically, influenced the work of both popular and lesser-known singers and musicians in this corner of the world during the 1970s. Undoubtedly, influences also stemmed from French chanson and rock music of the era. This 21-trackalbum shattered all musical predictability, taking listeners on a strange and nostalgic journey, offering a revised collection of "essential homegrown classics" for local listeners while also captivating non-Dutch-speaking audiences.

With the second compilation, Harde Smart shifts its focus from the 1970s sound to explore the next decade, the 1980s. Vinyl aficionados No Sleep Richy and Micha Marva joined forces with Sjefke De Kok, one of Holland's premier crate diggers, to continue their musical odyssey. Digging even deeper into dusty bins filled with Dutch and Flemish records once again unearthed an exquisite selection of tracks-too weird to play, too rare to ignore. From butt-shaking boogie to weird disco adventures on wax, this album encapsulates all the good stuff of the 1980s: smooth and seductive alongside dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

Technically, Yeah. Detroit artists Eddie Logix and Jo Rad Silver alchemize sonic matter on Real, No. The EP emerges from years of creative collaboration and blends each of the artists’ strengths into a deep-house, hi tech jazz, dubby leftfield assemblage straight from the pulse of today’s Detroit.

Since 2017, the pair has been producing tracks and co-curating Technically, Yeah., an influential monthly happening that encourages (Live) electronic musical expression. The duo’s curation is grounded in community, widely genre-diverse and steadfast in commitment to technological experimentation. The Real, No. EP distills this ethos and puts it on wax.

While Jo Rad is known for techno leanings and Eddie for organic jams (recently on Rocksteady Disco,) the two transform beats into substance with a diverse and thoughtfully constructed release. Glued together with attuned mixing from Salar Ansari and cut loud at Archer Pressing in Detroit, the EP’s range puts deep grooves in the bag for every discerning DJ.

AKKA’s Side: “King David” sticks the synthy deep house groove right in gear with a driving, bubbling bassline and floating effervescent vocal chops from and for a special someone. “Mango Strut” offers a slight island twang and dives into a breaky depth of a bracing cathartic arpeggiated, hand drum ecstasy. A vitamin filled chugger.

BEEP’s Side: The duo recorded “June Buggy” the first time they jammed together on a borrowed Juno. This propulsive Italo-ish conga groover is a mechanical piece of action. The record ends by summoning the ancestry of “Callin’ Dybbs,” a textured hi-tech jazz heater. Kasan Belgrave, young-gun horn of known pedigree, lays down the sax. The sultry brass tones lock in with buxom stabs. For those who know and those who don’t yet. This one holds depths!

“Fierce jazz buggin futurism in outerspace” - Luke Una

“Driving and psychedelic and gorgeous hi-tech.” - Peter Croce

“Perfectly crunchy soul squeezed jams begging to be rinsed” - 2Lanes

“Funky, jackin’, atmospheric, groovy, ravey and ethereal”- Father Dukes

“I’m calling dibs on callin’ dybbs!” - DJ Etta

A Jazz Dance Favourite that Jazz Room Records Head Honcho Paul Murphy was hepped to by Brownswood and 6Music Jazz Supremo Gilles Peterson at the 20th Birthday Bash of London's most Underground of Clubs: Shiftless Shuffle.

Murphy: "I'd quite forgotten all about it, but when I saw the reaction on the dancefloor it was "Mental Note Time, get on the case for a full investigation and let's see some Vinyl re-issue action!"

The head of the original Danish Label, Pick Up Records, later reminded Paul that he was selling the originals in his original Jazz Record Shop "Fusion Records" when the original was released and that he, Peter Littauer, had actually delivered them personally on a trip to London. Synergy in action!

The music is a mixture of 100mph Latin Jazz (Girl With Three Faces/747 To Rio/From Dusk Towards Dawn) and Funky Rhodes driven workouts (Travelling/Circles In The Air), plus the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe who guested on two of the tracks.

Das Album "Hip Walk" von Peter Herbolzheimer Rhythm Combination & Brass und Inga Rumpf wurde im Original 1971 auf Vinyl veröffentlicht. Es ist eine Mischung aus Jazz, Funk und Soul und präsentiert eine dynamische Kombination aus Bläsern und Rhythmusinstrumenten. Die Vocals von Inga Rumpf verleihen dem Album eine zusätzliche Dimension. "Hip Walk" ist ein energiegeladenes und mitreißendes Album, das die Vielseitigkeit und das Talent der beteiligten Musiker zeigt. Es ist ein Klassiker des Jazz-Funk-Genres und hat einen festen Platz in der Geschichte der Musik.

“This record breathes a second life into these songs,” says Alejandro Escovedo of Echo Dancing, the Americana pioneer’s new album where he reconceptualizes the songs of his storied career. The variety of songs range from his short-lived rock quartet Buick MacKane, rarities from his ‘80s alt-country outfit The True Believers, to the celebrated songs of his solo discography from his debut album all the way to his most recent sprawling masterpiece, The Crossing. Highlights include a reimagined trip-hop-funk hybrid of Escovedo’s “Castanets” (retitled here as “Castañuelas''), a blistering version of “Bury Me” that finds that songwriter now older than the characters he was singing about, as well as songs co-written with trailblazers such as Chuck Prophet, Peter Buck, Scott McCaughey and J. Steven Soles. At age 73, Escovedo continues to reshape his ever-changing sound and experiment with the boundaries of Americana music. The 2xLP vinyl edition of Echo Dancing is pressed on gold vinyl and arrives in a gatefold jacket.

Echo Dancing by Alejandro Escovedo, released 29 March 2024, includes the following tracks: "Bury Me", "Too Many Tears", "Outside Your Door", "Thought I’d Let You Know" and more.

This version of Echo Dancing comes as a 1xCD.

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.