Suche:q band

The trance blues stylings of Otha Turner and his Rising
Star Fife And Drum Band should be a music classification
unto itself, a whole new primitive take on drum and
bass. This music is the oldest still-practiced post-colonial
American music, and Turner was one of its greatest artists
of the 20th century. Blowing the cane fife with a band
of drummers as back up, The Rising Star Fife And Drum
band was legendary in the hills of Tate County, Mississippi,
where they would perform during the yearly goat picnics
on Turner’s farm. These tracks were recorded by Luther
Dickinson during such picnics and released when Turner
was ninety years old. Everybody Hollerin’ Goat shows
first hand the hypnotic and rhythmic style of fife and drum
music at its best—raw and beautiful.
It is every bit as essential a document of America’s folkmusic
heritage as anything Harry Smith or Alan Lomax ever
offered up for posterity. Turner’s band included some of his
children and grandchildren that have gone on to continue
the fife and drum tradition since his death in 2003.
This first ever vinyl release of Everybody Hollerin’ Goat
contains a whole side of unreleased recordings from one
night of the picnic and is intended to bring the experience
of hollerin’ for goat in Senatobia, Mississippi to the living
room. Dancing around the plants is recommended (but
don’t eat the pickled eggs). The entire album is remastered
by legend Gary Hobish.

The name says it all! “Lost in Paris Blue Band” is the unique result of a
spontaneous, 3-day studio session of exceptional musicians in Paris
Among them are Robben Ford - exceptional blues and jazz guitarist, who had for
instance accompanied Miles Davis; Ron “Bumblefoot” Thal - well- known for his
astonishing solo career as well as having replaced Slash in Guns N’ Roses as well
as Paul Personne – multi-awarded French bluesman – and many others.
This album contains 13 cover versions of blues, folk and rock masterpieces, such
as ‘One Good Man’ (Janis Joplin), ‘Trouble No More’ (Muddy Waters) and
‘Watching The River Flow’ (Bob Dylan). Following the album’s success in 2016
and the fantastic critical reception, Lost In Paris Blues Band is coming to record
players around the world as a 180g 2LP Gatefold Edition on finest black vinyl.

First exposed to the sounds of Samba and Bossa Nova while
touring South America with Dizzie Gillespie in 1956, Jones recalls
hearing Gillespie sitting-in with a Samba combo at Rio's Gloria
Hotel and how he was fascinated by the thrilling fusion of Jazz and
Samba. Some years later in 1962, he took a stellar big band into
NYC's A&R Studios to record the Big Band Bossa Nova album. It
was the culmination of a dream for Jones, who had never
forgotten the musical experiences he had encountered in Brazil.

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Beja Power! is a living archive of the finest, most heartfelt Beja songs—a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. Few older Beja recordings were produced. Even fewer, if any, remain.

Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.

A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old. Yet their sounds are also reminiscent of Dick Dale's 1963 "Misirlou" and jazz great Charlie Rouse's 1968 "Meci Bon Dieu". This album could be 6,000 years, 60 years, or 6 months old.

Along with his Dorpa Band, formed in 2006, Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea.

Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career.
Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music
genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive
analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics.
According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles
Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”.
The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a
DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day.
Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor."
Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and
knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured.
Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me
Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists,
weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades.
As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the
scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music"

With a tour schedule to make even the most hard working of musicians blush, Madalitso Band have taken their exuberant, Malawian folk music from the streets of Lilongwe to thrilling audiences across Europe and are now are gearing up to release their third album Musakayike via the acclaimed Swiss imprint Bongo Joe Madalisto Band return this summer with a packed tour schedule and a brand new album Musakayike. Recorded in Malawi in November of last year, the duo, along with their "accidental manager" Neil Nayar, headed into the studio with a cleareridea of how to to capture that Madalisto Band sound without losing any of their groove and infectious energy. After all, this is music to make you clap, dance and smile.

Connecting Wasulu hunter music, griot praises, pastoral Senufo dances, Fula and Mandingo repertoire with western psychedelia, blues, and Nigerian afro-beat, Zani Diabaté's Super Djata Band was among Mali's top orchestras. Tracked live inside Radio Mali's cozy environs in January 1982, En Super Forme was briefly available via Côte d'Ivoire's Musique Mondiale imprint. The album centers around Diabaté and his electric guitar's pyrotechnics, a relentless shredder that stands shoulder to shoulder with Mali's fingerstyle gods Ali Farka Touré and Djelimady Tounkara.

Connecting Wasulu hunter music, griot praises, pastoral Senufo dances, Fula and Mandingo repertoire with western psychedelia, blues, and Nigerian afro-beat, Zani Diabaté's Super Djata Band was among Mali's top orchestras. Tracked live inside Radio Mali's cozy environs in January 1982, En Super Forme was briefly available via Côte d'Ivoire's Musique Mondiale imprint. The album centers around Diabaté and his electric guitar's pyrotechnics, a relentless shredder that stands shoulder to shoulder with Mali's fingerstyle gods Ali Farka Touré and Djelimady Tounkara.

Finding that luck, love and letting things roll works out for him just fine, Michael Head leads his Red Elastic Band into a fresh chapter with optimism and some of the best music of his career, announcing his new, Bill Ryder-Jones-produced album, Dear Scott will be

released on Fri 27 May 2022 via Modern Sky UK. Operating as renewed friends, family and fearless communicators in sound, Head also leads close-knit band of brothers out on their first full UK Tour.

Finding that luck, love and letting things roll works out for him just fine, Michael Head leads his Red Elastic Band into a fresh chapter with optimism and some of the best music of his career, announcing his new, Bill Ryder-Jones-produced album, Dear Scott will be

released on Fri 27 May 2022 via Modern Sky UK. Operating as renewed friends, family and fearless communicators in sound, Head also leads close-knit band of brothers out on their first full UK Tour.

For Fans Of: Fishbone, The Specials, Bomb The Music Industry, Skankin’ Pickle, MU330, RX Bandits. New 12 song LP. It's SKA. What else is there to say?

Neues Album des Liverpooler Singer-Songwriters Michael Heads (The Pale Fountains, Shack), vom NME als 'einer der begabtesten britischen Songschreiber seiner Generation' bezeichnet und von zahlreichen Songwriter-Kollegen verehrt. 'Dear Scott' wurde von den besten Musikern aus Merseyside, darunter dem Produzenten Bill Ryder-Jones (The Coral), geformt und ist dem Romanautor F. Scott Fitzgerald gewidmet. Die 12 Songs vereinen Ryder-Jones' Kunstfertigkeit mit der ausserordentlichen Musikalität der Red Elastic Band zu einem schimmernden Juwel.

Following a blossoming first year releasing his own music in 2021, which saw his music supported by Jamie Cullum (BBCR2), Jazz FM, BBC Introducing and more, Matt Wilde returns with his second release of 2022 – a 7" on iconic music venue Band on the Wall's new label.

A truly feel-good slice of musical goodness centred around Matt's lyrical, virtuosic and jazz-leaning keys, 'Every Story / Pivot' delivers wondrous blends of hip-hop and jazz elements.

Introducing the 'Saltpond City Band'. A buoyant 8-piece outfit hailing from Ghana, blending soulful highlife and percussive funk in their new album 'Boko A Ko', forthcoming on Meet Me There Records.

The Saltpond City Band was initially formed by the legendary Ghanaian highlife musician Ebo Taylor and is now led by his son, keyboardist and lead vocalist, Henry Taylor.

The album 'Boko A Ko' is a blend of highlife, funk and afrobeat, woven into a refreshing take on traditional Ghanaian highlife. With the core of the band set deep in the highlife experience, Taylor and company deliver a combination of driving horns, fluid percussion and earthy vocals. The album features Ebo Taylor himself on 'Mennbo Wobi', which also showcases Ghanaian flute extraordinaire Dela Botri adding fine elements of melodic escape.

The forthcoming album is set to be released on the brand new label 'Meet Me There Records' (MMTR). MMTR is a community-based project aiming to put the artist first. With profits split 50:50 between artist and label, 25% of the label profits will go directly towards the building of a recording studio in the local community of Dzita in West Ghana, Wornana Studios, which will become one of the first accessible recording studios in the Volta region.

'Boko A Ko' is already receiving praise from highly acclaimed artists and DJ's, but is also an example of what else is to come from MMTR and is paving the way for new and unexplored talent that is coming out of the Ghanaian and West African music scene.

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

The West Coast Pop Art Experimental Band make an interesting case for being one of the era's more unclassifiable bands. Vol 3. A Child's Guide To Good And Evil was a great example of this. This album is considered to be the band's most accomplished work and a masterpiece of the psychedelic genre. Released just nine months after Volume 2, the band explores their incredibly creative psychedelic pop song writing with an accomplished mastery of studio technique.

The album cover features iconic original artwork by Jon Van Hamersveld, who also created covers for the Beatles and the Rolling Stones. During their short existence The West Coast Pop Art Experimental Band became known for their strange compositions, sometimes referring to the sound of the Byrds, while at other times exposing the weirdness of Captain Beefheart and Frank Zappa.

Provogue / Mascot Label Group will re-issue Nothin' But Love and In My Soul from the Robert Cray Band as part of their ongoing special re-issue campaign. The albums will be released on 140g light blue vinyl on 6 May 2022.

Provogue / Mascot Label Group will re-issue Nothin' But Love and In My Soul from the Robert Cray Band as part of their ongoing special re-issue campaign. The albums will be released on 140g light blue vinyl on 6 May 2022.

A fantastic compilation of the great Salum Abdallah and Cuban Marimba Band. 12 perfect songs from the stars of the early 60s "muziki wa dansi" (dance music) scene in Tanzania, mixing local music styles with Cuban son, cha cha, and twist. One of the greatest music scenes anywhere, ever, which has been criminally underrepresented in this era of apparently inexhaustable reissues - finally a stellar compilation dedicated to it! Shimmering guitars and driving rumba basslines, horns weaving counterpoint harmonies through the air, irresistible percussion locking it all in, and the heartwarming voice of Salum Abdallah. Music that just feels GOOD. The LP comes in an old style tip-on jacket, with a printed inner sleeve featuring lyrics in Swahili and English.

Duke Ellington and Ella Fitzgerald's paths had crossed many times during the Thirties, Forties, and early Fifties, but no recorded trace of the two legendary musicians collaborating existed until 1957, when they would come together to produce a series of sessions which include the music on this LP.

It may seem incredible that not a single previous air shot of Ella with Ellington survives, but Duke had a tight band and didn't frequently play with musicians outside of his orchestra. Ella, on the other hand, after coming to fame with the Chick Webb orchestra in the late Thirties, was taken under the wing of Norman Granz's, from which point on she rarely recorded with anyone other than artists contracted to Granz, which included many of the greatest jazzmen of all time.
Because of Ellington's contractual commitments and incredible busy schedule, the sessions where fraught with problems and intermittent delays. Thankfully though, under Granz's supervision and stoicism, the Ella- Duke project was completed.

Exclusively premiered by Afrodeutsche on BBC Radio 6 Music and supported by Mr Scruff, the new Band on the Wall-released 7" from Manchester's Lovescene is a devastating encapsulation of the collective's multiple personalities.

Finding each other amidst the more soulful side of the Manchester club scene, Suits You/Overnight (Dancefloor Mix) comes out hot on the release of the group's debut album and is an irresistibly rich mix of velvet RnB, groove-laden soul and driving floor filler. The group deliver both in widescreen opulence, a direct link to their name which comes from band leader and vocalist Pops Roberts' love of cinema.

2022 repress. Their cover of The Chakacha's classic, "Jungle Fever" has been burning up dancefloors since its first pressing on Plane Jane Records. BRSB put the punch in the drums and the one drop in the arrangements, taking the original tune and updating it into something DJs and their audiences are going crazy for. "Tender Trap", the flip side, starts out with a syncopated intro that will catch the ear of any hip hop fan for a number of reasons, then the tune turns into an all out funk burner, steel pans and guitars taking turns over the driving drums. Another BRSB sureshot.

Bacao Rhythm & Steel Band Follow Up their 2021 “Expansions” album with another solid 7” offering. The A side, “Represent,” is one of the stand out tracks from Expansions. BRSB cover the DJ Premier produced Nas classic taking the original and expanding the arrangement with guitar and brass riffs. Tuba chugs along the drum break while the steel pans hammer out the infamously infectious melody of the original sample making this an easy winner in Hip Hop circles and beyond. The B side is a non-album cut available on this 45 for the ­rst time ever. Bacao covers the Mtume classic “Juicy Fruit” made popular again when The Notorious B.I.G. sampled it for his smash hit “Juicy.” This is a sure head turner when people realize they are dancing along to a new version of the classic melody

Kalita are excited to announce the first ever reissue of student medical group the IgG Band's highly sought-after 1980 soul, funk and disco grail 'Ultra/Sound'. Originally privately released in a small run on band member Clifford Becker's Infusion Records imprint, the album has since become a treasured prize of but a handful of die hard collectors and DJs as a result of both ist scarcity and quality. Now, in partnership with the band, Kalita shine a light on the album for the first time in over forty years, accompanied by never-before-seen archival photos and extensive interview-based liner notes.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

Allison was best known as one of the members of the great Funk band "TSU Toronadoes", who was the creator of the million seller, "Tighten Up" while backing Archie Bell & The Drells on Ovide & Atlantic an many more.

Allison has also written some amazing songs such as, I Still Love You, The Goose, Only Inside, Work on it, to name a few.
However, when the band "TSU Tornados" split in 1971, "Allison Lewis" went on to form "South Funk Blvd" with two other members Jerry Jenkins, Nelson Mills.

They recorded a well known rare single with his band "South Funk Blvd" called "Skying High Getting Off On Your Loving" & "Be Together" on Captain Funk Records. The rest of the band attempted to continue playing under the name "TSU Tornadoes".

Recorded in Brooklyn, NY and in Accra, Ghana.

Osei Korankye is a master musician and singer from Accra, Ghana. Known as one of the very last remaining seperewa musicians in Ghana.

These tracks are a throw back to the classic styles of Afro-Funk in 1970s Ghana.

Recorded to tape and produced by Super Yamba bandleader and drummer Daniel Yount and engineer/bassist Vince Chiarito (Ikebe Shakedown/Charles Bradley/Black Pumas).

Upon a trip to the United States in 2017 Korankye linked up with Yount for a few gigs in New York City. Yount learned Korankye’s music and played drums on the gigs. “After that I knew I wanted to collaborate with Osei on some of the songs Super Yamba had written in the style of Ghanaian funk.” The collaboration came together effortlessly and the result is two beautifully psychedelic funk tunes made for dancing time!

Paul Butterfield was an iconic blues harmonica player and singer, famous for his in 1963 formed Paul Butterfield Blues Band. Their 1966 releases classic East West is one of the outstanding albums in which they integrated psychedelic rock in traditional blues music. The supergroup consisted at that time of guitar hero Mike Bloomfield, keyboardist Mark Naftalin, bassist Jerome Arnold, drummer Billy Davenport and, of course, the master himself, Paul Butterfield. The authentic blues sounds are woven in the sounds of jazz and raga music. It's an exciting trip in which you can hear the talented individuals, but also how they created their music together. The album proved to be one of the essential albums in the blues-rock movement of the 60s.

Paul Butterfield died in 1987 at the age of 44. During that time he was still recording new songs. In 2006 he was inducted into the Blues Hall of Fame and in 2015 again as part of his own Paul Butterfield Blues Band.

Band of Horses’ sixth studio album and first record in more than five years. Sonically, the album is a return to their earlier work and the kind of raw ethos that lies at the heart of Band of Horses. Emotionally intense, both on a personal and elemental level, on Things Are Great we find band founder Ben Bridwell more autobiographical than he’s ever been on record detailing the nebulous frustrations and quiet indignities of relationship changes and what a person will do to make things right.

Band of Horses’ sixth studio album and first record in more than five years. Sonically, the album is a return to their earlier work and the kind of raw ethos that lies at the heart of Band of Horses. Emotionally intense, both on a personal and elemental level, on Things Are Great we find band founder Ben Bridwell more autobiographical than he’s ever been on record detailing the nebulous frustrations and quiet indignities of relationship changes and what a person will do to make things right.

Pressed on Eco Vinyl - Glasgow sextet James Edwyn & the Borrowed
Band stumbled on to the scene 2013, their formation the result of a
series of unlikely coincidences - Their music is a mix of alt-country, indie/folk rock and roots orientated Americana.
They have released two critically acclaimed albums, 'The Tower' (2014) and 'High Fences' (2018). Their new studio album 'Highlights of the Low Nights' is out on Last Night From Glasgow early 2022.

Kris Barras Band return armed with towering anthems on the heaviest
album to date; 'Death Valley Paradise', available on CD, transparent red
vinyl and digitally
Produced by Dan Weller (Enter Shikari, Bury Tomorrow, SiKth) and recorded at
VADA Studios in Alcester, they return heavier, darker, more introspective but
enormous at the same time. Barras decided to remove all shackles and began
collaborating with songwriters, such as the heavyweights; Jonny Andrews (Three
Days Grace, Fozzy), Bob Marlette (Alice Cooper, Airbourne, Rob Zombie), Blair
Daly (Halestorm, Black Stone Cherry) and Zac Maloy (Shinedown, Tyler Bryant).
Death Valley Paradise started life as a song before it was dissected and spread
across the album. Death Valley is a place of extremes, where living things are
said to not be able to survive.
For 18 months the world stood still and the realisation set in that there was no
control of ourselves anymore. For the ex-MMA/cage fighter, there was only one
way out, to re-focus, and started with no preconceived plan for the album.
But now, Death Valley Paradise is ready to be unleashed upon the masses, who
are yearning to rock out, fist pumping in the air.

Red hot Modern Soul 45 recorded in Memphis, Tennessee in 1985. Big thanks to Robert Garcia @mrbighappy & Daniel Mathis @quartzwatches for the research and words on this one!!

Brotherhood Band was started by Ernest Coleman(EC) and Clint Hyson, who met thorough a US Navy band called "Mid-South", which was the US Navy's premier musical organization operating out of Millington, Tennessee (20 min outside of Memphis). The group initially played as an instrumental jazz band. In keeping up with the times, they shifted gears towards a more contemporary sound. Shortly after, they decided to cut a single. Enter "Nicci's Theme", which is the B-side here and it's a beautiful jazz tune EC wrote for a girl he fell in love with. This song was supposed to be his door way in, but he actually never opened the door with her.

A few weeks later Clint called EC and played this syncopated bass line for him over the phone. And then EC being the ladies man that he was wrote the lyrics to "Leather Pants" to it. Part of the lyrics read "The pants they stretch, but they don't bust. Enough to make a blind man cuss", but it originally read as, "The pants they stretch, but they don't bust. Enough to make a PREACHER cuss". The song was ready, but they needed to find a singer. That's when member Richard Owens mentioned that he had a young cat back in Atlanta named Taji. In a gamble Taji drove up to Memphis for the Sunrise recording studio session to record the track. According to EC when Taji laid the vocals down he took the song to the next level. In fact it was so impactful that EC, who is now a Grammy producer, still references Taji's sessions when working with new artist.

After the single dropped the group played at Memphis hot spots, Bills Twilight Lounge and Club No Name. EC even had an idea to host a local leather pants contest as a way to promote the song. This lead to a frenzy of women seeking to be "Miss Leather Pants".

Kalita are excited to announce the first ever reissue of student medical group the IgG Band's highly sought-after 1980 soul, funk and disco grail 'Ultra/Sound'. Originally privately released in a small run on band member Clifford Becker's Infusion Records imprint, the album has since become a treasured prize of but a handful of die hard collectors and DJs as a result of both ist scarcity and quality. Now, in partnership with the band, Kalita shine a light on the album for the first time in over forty years, accompanied by never-before-seen archival photos and extensive interview-based liner notes.