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"Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original.
The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Factory Benelux presents an expanded double vinyl edition of Sex and Death, the 11th studio album by lauded Factory Records ensemble The Durutti Column.

Originally released in 1994 on CD only, the album has now been re-mastered with 5 bonus tracks and appears on vinyl for the VERY FIRST TIME in a coloured vinyl edition limited to 1500 copies.

The vinyl edition is housed in a gatefold sleeve . Disc 1 is pressed in blue vinyl, and disc 2 in silver. A 2xCD edition is also available (FBN 201 CD).

The writing and recording of Sex and Death closed an uncertain period for Vini Reilly and the group following the collapse of Factory Records in 1992. Factory founder Tony Wilson remained in post as manager of the band, but Sex and Death would be their last album with producer Stephen Street, famed for his work with Morrissey, The Smiths and Blur.

Writer and master guitarist Vini Reilly remained philosophical. “People say the Durutti Column is this or that. I don’t care, so long as we make good music. There’s screaming feedback on some tracks, heavy metal guitar, Spanish picking. It’s not just this ethereal trip. Don’t listen to the form, never listen to the form. Listen to the content.”

Stand-out tracks include Anthony (dedicated to Wilson), The Rest of My Life, and Believe In Me. Guest musicians include viola player John Metcalfe, vocalist Ruth-Ann Boyle (later to form hitmakers Olive with Tim Kellett), programmer Martin Jackson (Magazine, Swing Out Sister) and bassist Peter Hook, then on furlough from New Order post-Republic.

All 5 bonus tracks are previously unreleased, having been retrieved from a long-lost DAT tape located in Tony Wilson’s personal archive. All tracks on the album have been newly re-mastered in 2020 by Peter Beckmann and Technology Works.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

Four Flies is proud and excited to present the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's 1964 movie Il Vuoto.

Rightly considered by many to be a key figure, if not the key figure, in the history of Italian jazz, Trovajoli was responsible for fostering an appreciation and understanding of jazz among the generation of music listeners and musicians raised under Mussolini and Fascist nationalism. His outstanding work as a pianist, composer and conductor contributed immensely to the popularization of the genre among the general public and to the reduction of institutional bias against it.

The collaboration between Trovajoli and Vivarelli did not happen by chance. The latter, now regarded as one of Italy's "kings of the B's" for his work in the 'exotic-erotic' genre (Il dio serpente, Codice d'amore orientale, etc.), was a great music expert, a skilled talent scout for the Italian music industry, and a true lover of jazz.

Most of Trovajoli's score for Il vuoto has a refined smoothness that is clearly reminiscent of cool jazz – many tracks on the soundtrack are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. At the same time, Trovajoli explores other jazz styles or sub-styles in faster, more rhythm-oriented tracks influenced by bossa nova, samba, and even rock'n'roll, where instruments like drums and percussion, electric guitar, or flute take center stage.

This stylistic variety demonstrates both the maestro's versatility as a composer and the fine skills of the musicians who performed on the soundtrack. Like Trovajoli, they were all pioneers of Italian jazz and played in Italy's very first 'institutional' jazz orchestra: the Orchestra di Musica Leggera of the RAI (the Italian public broadcasting company), formed under Trovajoli's leadership in 1956 and credited as "his orchestra" in public performances and in the album The Beat Generation (RCA Italiana, 1960).

By making available for the first time ever almost all of the music recorded by Trovajoli for Il vuoto, this LP fills an important gap in the maestro's discography. Most importantly, it offers further insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music, which was possible thanks to Trovajoli's mastery as a composer and to the virtuosity of the pioneering musicians who performed in his orchestra.

Superb unreleased soundtrack from British 1972 sex comedy starring Gabrielle Drake (Nick Drake’s sister) and Rchard O’Sullivan (Gilbert O’Sullivan’s brother!). Brilliant music on many levels, 17 sexy tracks of swinging jet-set jazz, groovy scatty vocals, hell it must be good because it’s on Trunk Records.

Take yourself back to the fleapit cinemas of the early 1970s. My home town of Aldershot had two - the ABC/123 (with three screens) and The Palace (just one screen, and anything but palatial). Au Pair Girls, released in 1972, was exactly the kind of soft porn “comedy” flick with a vague plot that would, without doubt, have been playing as part of a double bill to the regular “dirty mac brigade”. Such films and such establishments guaranteed the small crowd regular titillating wide screen visions of nude women in preposterous situations and fulfilling preposterous fantasies.
The title of Au Pair Girls suggests it all of course; yes, four young women fly into London from Europe and Asia, are sent to their new employers and find themselves in unexpected and unusual situations pretty fast. There is of course full nudity, crudity and a large slab of cheese on the menu.There is also no real comedy, a sprinkling of infamous character actors (Richard O’Sullivan, John Le Mesurier), and “UFO” actress Gabrielle Drake (sister of Nick Drake) wearing nothing at all. If anything, the film has maintained a vague middle aged male following because of Gabrielle.
But there’s little to save this film from contemporary criticism - its outdated view of life, rights, sex and taste sit uncomfortably today. But the jet set soundtrack by Roger Webb was worth saving.
By 1972 Roger Webb’s career in film and TV music was taking off. He was an established songwriter and live pianist with a jazz trio. He’d already penned a few British scores and was just starting on a formidable future with library companies including Chappell, de Wolfe and Capitol. His route to Au Pair Girls was accidentally through Norman Newell, one of the giants of the post war music industry.Actress and performer Dee / Deanne Shenderry had asked Newell to recommend an artist to arrange her up and coming album. New;ee recommended Roger Webb.The two worked together and some music was produced, but to my knowledge only got to acetate stage (possibly for Apple Records). Dee husband was Kenneth Shipman, a co-owner ofTwickenham film studios.And so when Kenneth Shipman started pre
production of Au Pair Girls, Roger Webb was an easy go-to for film music composition.
Many years ago there was an original reel / master for Au Pair Girls. It was transferred to CD, DAT and cassette circa 1990 and the rapidly degrading tape was subsequently misplaced, lost or just binned. So all we had to work with was a rather shaky transfer from nearly 30 years ago, one which included numerous wobbles as well as speeding up and slowing down moments.The job of rescuing all this was left to Jon Brooks, my hero for all such musical problems. The end result is what you hear on this album. It is by no means sonically perfect but it is all we will ever have.
It’s certainly not Roger Webb’s best ever score (I have more of his ace work coming) but it has a certain charm and relentlessness.The lyrics were written by Norman Newell, and I can imagine the pair having a huge amount of fun putting the score together and recording it, with - as you’d expect - a pretty tight band and lively vocal group.The main theme does, as one reviewer state, “go on a bit”, but there’s enough musically here for me to get excited about and really want to “stick it out”. So I have.

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.

It's album release time for this Madrid-based soul/jazz organ trio who have been burning up stages and festivals throughout 2019 and who have already had a successful single out on Rocafort Records. Beat Bronco Organ Trio have not rewritten the Hammond musical handbook, but they do what it says on the tin rather splendidly – a Road Trip that grooves, swings and sashays around the familiar but much loved funky jazz theme.

Although it's impossible to listen to the album without summoning up the ghosts of Jimmies McGriff & Smith and the like, nearly all tracks here are originals and shout out personality, verve and respectful homage to the tradition. Featuring the usual leitmotifs: Shaftish film sountrack, lo-fi lounger, gospel-tinged toe-tapper, the hip shaker and much wah-wah frenesi, there's nothing not to like if the genre is your bag.

The steaming horn section on "Hard Play" thickens the sauce à la JBs and the Meters, aided along by a unique orchestra of handclaps. Vocalist and guitarist Alberto Palacios Anaut storms in with "Hey Hey", an old Dave Bartholomew classic from New Orleans, just to remind us where Fats Domino and Ray Charles got it all from. Chip Wickham makes two welcome appearances on flute, adding an extra jazzy touch to "Squirtly" and "Electro Pi" – the latter a fabulous trippy, spacious head-nodder that demands in our opinion some kind of a wigged out drum'n'bass remix. Every track is clearly dominated by variations on the vintage keyboard, be it Hammond, Clavinet or Minimoog; all roads lead to that sexy, sacred sound.

Spain is already prominent on the modern-day Funk map thanks to groups like The Sweet Vandals, Speak Low and Mighty Vamp – and it comes as no surprise that our hero trio featured at various times in all these bands. Gabri Casanova (keys), Lucas de Mulder (guitar, percussion) and Antonio "Pax" Alvarez (drums, percussion) have been busy reviving the funk gospel for some time now. Road Trip is an elegant culmination of their efforts in keeping alive a revered and timeless tradition that still today serves as a reference to where all the good stuff came from: The Church!

For the 27th release of la Vie En Rose Records, coming from the most romantic town in Russia called Saint Petersbourg, we have the honor to receive the talented Vadim Shatalov.

He delivered 3 tracks between cosmic textures, melodic bassline & classic house beats.

On the A-side we have "Maybe Tomorrow" a solid housey beat, built with some classics chords, surrounded by a special atmosphere almost chaotic, the strong bassline is keeping the track really groovy and catchy. There is no doubt that "Maybe tomorrow" define the world of Vadim original, funny & futuristic.

On the B-side we have "Get Together" a bit of poetry coming from Saint Petersburg, Classic housy rhythm, fat 909 snare with a heavy subbbass, helped by some intense fm harmonics sounds, the result is an inimitable swing groove. The melodic pads are reducing the intensity of the track into something really romantic & sexy Vadim is a russian lover!

To close the EP we have "Bring it Back" same process, sexy and warm pads with a classic house 909 beat with different style of hats & textures, some warm and intelligent motives making the melody of the track, nice ambiance to close this wonderful EP.

"Maybe tomorrow" is an essential release for fans of La Vie En Rose Records illustrating what will be the the next chapter, keeping the roots and the Adn of the label.

The godfather of acid house, DJ Pierre, is back - bringing four heavyweight Chicago cuts to the fore, two of which, 'Pinball Machine' & 'The Spirit' are unreleased, exclusives.

'Sexy Aquarian' showcases Pierre's unique style putting his trademark spin on this classic vocal, combining it with a bumping bass and dizzying acid lines, to trigger old memories whilst giving you something new for your mind, your body and your soul.

Next up 'Pinball Machine' goes in heavy on the percussion - filling those speakers with a barrage of weighty toms, crisp hats and crunched up snares. The frenzied synth line bounces around relentlessly, pinging off the sides of your brain like a sonic arcade.

Take to the flip for a lesson in how to take jackin' house to another level. 'Whats Mine is Mine' delves beyond the beat, mixing sassy vocals and spiritual organ stabs, with a touch of swing reminiscent of an era long gone.

Closing out the EP, 'The Spirit' utilises another treasured vocal layering it behind punchy drum programming, a rumbling bass and atmospheric touches that add an ethereal tinge to the track.

DJ Feedback:

The Black Madonna - We Still Believe / Liaison Artists - Excellent!

Eli Escobar - OH yes.

PBR Streetgang - 20/20 Vision - classic

Andy Caldwell - Nettraxx / Cr2 Records - Ooh so so sublime. Good shit here!

Tony Humphries - The Zanzibar / New York - Nice peak time banger.

Danny Howard - BBC Radio 1 / Nothing Else Matters - Aceeeee. Wicked vocal!!! Love the vibe

2x12"
PVS is an artist who is known for his solid productions on his own label H.omevvork (just to remind you of his masterpiece of four years 'fuckin' society') and on the prestigious M_Rec Ltd label of Max_M who sadly passed away (R.I.P.), and KEY Vinyl.

After years of experience in his private life and professional life that involved travelling around Europe, he took a moment of break from the scene. Now he's back and will release this own musical journey where he deeply expresses his personal musical maturity.

PVS developed an album where nothing has been produced randomly. The album can definitely be defined as a 'techno album', as is the general concept of KEY Vinyl - records that can be heard on the dance floor, but that can also be listened to at home.

Enjoy this album that shows 360 degrees techno by PVS.

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

2LP in gatefold with liner notes. 180gr vinyl. Download code included. A new, twenty-track compilation focussing on a twenty-year period (1950-1970) of modern jazz in the little kingdom, featuring the leading players from that era.

Due to the absence of its main players during the heydays of modern jazz, Belgium will not be remembered for a unique jazz sound or an extensive discography. However, the little country produced a number of highly talented musicians who played lead roles on the international jazz scene.
'Let's Get Swinging: Modern Jazz in Belgium 1950-1970' retraces their steps and presents some of their finest works, including guitarist Philip Catherine, saxophonist Jack Sels, multi-instrumentalist Jacques Pelzer and vibraphone player, percussionist and vocalist 'Fats' Sadi Lallemand.^

Finally, the battle is about to reach its thrilling finale after three exhausting rounds. Our pugilists are staggering on their feet and the bookies are running around frantically, taking the final bets. Will the Bad Guys suckerpunch the Good Guys into oblivion, or does team Good have an epic deathmove in store for its malevolent adversaries Amsterdam native Nachtbraker steps back into the arena for the fourth chapter in the saga. The Quartet Series label boss and Heist and Dirt Crew mainstay has defected to the bright and sunny Good Guys. Piano chords, chopper effects and toms are the main ingredients of his funk-laden and groovy energy drink. Better than steroids they say. Laurence Guy (Church, Rose Records) joins forces or heads in this particular case with a much-needed supplement that tugs on your heartstrings with its lush keys and deep pads. This London lad has been stirring up the scene with his flawless and addictive chords, not to mention the big support he's getting from maestro Move D. Will this dapper duo be strong enough to floor the misfits featured on the flip Great precaution is imperative with two heavyweights in the other corner. First mr. Tommy Vicari Jnr (Cabinet Records, YAY Recordings, AMMO84) comes barging in. This Sheffield veteran has been making killer cuts for years now and is about to step into the ring with his slamming snares, and wonkly wobbly bassline swinging around a phat kick. To keep both The Bad Guys feet on the ground LK (Shall not Fade, Hokkaido Dance Club) adds some extra meat with a deep, heavy bassgroove, while a sexy vocal and steady chords create that gangsta vibe that will boost the Bad Guys' confidence.

Coming from Geneva (Switzerland) but "napoletano" by heart, Pascal Viscardi is a new face in the deep-house panorama. The 31 years old fellow started his career (as a producer) a few years ago with 2 twelve inches on "The Exquisite Pain", including remixes from some heavy weights : Mark E, Session Victim and Agnes.
For his debut on "Frole Records", Pascal kicks in with a single track. "The Warmest Color" is the kind of cut you might play when the sun shows up and the bodies are ready for the slower and sexiest loops. In a totaly "Modern Swiss Vibe" (Did you say Agnes...) this double kicked tune offers you a straight, extra-shuffled, moodygritty and dubby moment. Is this Love at first sight! Yes, it is...
Our new friend didn't come alone, chosing carefully his remixers to complete your wax in a most accurate way.
On the A side - together with Pascal's "Original Swiss Swing"- we're proud to present you the greek berliner : Kindimmer. If you ask Ralph Lawson (2020 Records), the boss could tell you how talented the young dude is... At least, his record on the inconic label proves it all. Here on our release, Kindimmer offers a subtle and minimalistic approach to satisfy all your germanic house needs.
The B side starts with the german puncher Manooz, well known for his bangers on labels like "Tomorrow is Now Kid!", "Morris Audio", " Housewax ", and more... His version is a devastating big room nugget you should drop if you wanna see your dancefloor burning.
On B2 we have the third remix which comes from a really interesting outsider, our french mate : Toni Be. His releases on "Courtesy Of Balance Recordings", "Soul Notes" and "Rawthenticity" have truely convinced the genre specialists. Concerning his tune : dont look further, here you have the deepest cut of the bunch.

Rogue Vogue has been making a name for himself as a producer worth keeping an eye on with releases on French Express and remixes on Deep&Disco & French Horn Rebellion. He's finally ready to release his next original EP titled 'Say You Will' on his new home at House of Disco Records.

'Say You Will' includes 2 originals that brim with the joyous side of 90's house backed up with 3 remixes from Dublin Aunts, LeSale and House of Disco's Sixth Avenue Express. The originals are in keeping with each other while each of the 3 remixes bring something new to the table.

First up is the title track, 'Say You Will' which is a hip swaying homage to the sunny side of 90's house with more hooks than a 'Hellraiser' film. Addictive vocal stabs and sax hits are the name of the game as this one will have you digging in your drawer for those stonewashed jeans you'd forgotten about.

The first of the remixes by Dublin Aunts has a day rave written all over it with an epic acid tinged bassline and clever vocal treatments. The second remix by LeSale takes a slower, sexier tip and just grows and grows, leaning heavily on the keys but also introducing some strings into the equation.

Next up is the second original 'More Than Enough' which samples a vocal that many will recognise and makes it his own. A lot of this originals charm is in the lower end and will come to life on the right system. A dreamy breakdown cements this as a track that you'll keep coming back to.

Finally the last remix of the package by Sixth Avenue Express ads a heavy dose of sleaze to the original with a swinging melody line. Choosing to do away with the dreamy breakdown and instead replace it with an dramatic, elongated and memorable dancefloor moment.

Quintessentials 32 or the 'B.D.D.K. EP' is a joint venture of up and coming Paskal & Urban Absolutes and House veterans Henry L & Ingo Sänger. All 4 producers are connected by their penchant for deep and raw house music, while living quite far apart in Berlin (B), Düsseldorf (D), Dortmund (D) and Köln (K). Paskal & Urban Absolutes recently released on the highly respected Sonar Kolletiv label among others, whereas Henry L and Ingo Sänger released on their own Farside label and have been playing House music all life long. The 2 original tracks plus the 2 remixes are all sexy swingers! Welcome to 2013!