Following on the heels of her smash success debut album, alto sax sensation Camilla George will be releasing her second album, The People Could Fly, which is based on African folk tales. The music will portray the lives and experiences of African slaves, who created stories in which various animals assumed the personalities of the slaves and the slave owners. The album delivers a fusion of African, Caribbean and American influences, within a distinctly jazz foundation
Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.
On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.
With a string of resonating releases and progressively improvised live-shows, ANNANAN have been expanding and refining their stylistic range across gritty Acid psychedelia, explosive, dark-waving Electro and a raw blend of Techno and House that is as fierce as it is fragile. The duo's first album on their own imprint MACHINE JAZZ does take all of this into account - and yet it's crucially different to everything else they've put out so far. - You' is a captivating electronic pop adventure, an experimental amalgam aligning Anne Ghost's polymorphic lead vocals with Tom Aaron's vast and versatile analogue productions in unexpected ways. Dominated by reduced rhythms and a carefully crafted melodic shape, the result of this dialogic fusion are irresistible, forceful songs that draw from diverse contemporary and traditional sources: you'll even hear Trap fragments, an R&B trained voice, reminiscences of the Knife as well as cinematic synth excursions. While exhibiting a broad set of moods, claims and longings, the LP attains emotive poignancy from beginning to end through its bold openness. Annanan's first album is stripped down, immediate and full of surprises - but don't you worry, there's no lack in bang either!
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Our third Platinum release of the year comes from Finnish breakbeat veteran Fanu who's conjured up a fusion of classic breaks and brutal basslines across 2 vinyl tracks and 2 further digital bonus offerings. An EP full of experimentation that constantly strays from the norm, this is a release that celebrates the combination of Fanu's great efforts and unique methods bringing about impeccable results.
Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.
From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!
Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.
"It's Maths classes. A red-haired boy sits in the back, rhythmically tapping his fingers on a table like a madman. Although other students' eyesight is focused on the formula being written on the black-board, the boy could not care less. Out of a corner of his eye he notices as the sequence of numbers slowly begins to melt off the blackboard, glittering with colours, and finally spills all over the floor like a fractal leakage from some other dimension. Students from the first rows, scared, put their legs up - and then you start to hear the rhythm. The sounds, once set free, feedback from the walls and find their way to all chinks and cracks, circle all around to finally reach the teacher's ear. The lady cannot stop the upcoming fury, grabs Krzysztof Ostrowski (number 28) by his ear and circumventing the leakage she leads him out of the classroom. It's not the first nor the second time such thing happens. Years later, the boy finally sits by the machine; subtle light comes through the window slightly ajar, the curtain dances with the wind. Krzysztof, bent, is programming the rhythm."
It's warm and bright Autumn of 2018 and Krzysztof emerges again, this time on vinyl released by Jacek Sienkiewicz's label Recognition. The experimental style of "Primary Fluctuation" might come as a surprise to many of Jacek's followers, but there are surely some common features for the two art-ists - from attention to detail to a kind of serious melancholy present in their music. Ostrowski's rec-ord is a journey through futuristic polyrhythm, with enough space for menacing basses or unorthodox samples, reminding the aesthetics of fusion of broken techno and bass music championed recently by the labels like Timedance or Livity Sound. Four tracks (five in digital version) make up a cohesive, intriguing and surprising record, announcing series of special releases prepared by Recognition for the forthcoming months. ,
Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.
First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.
On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.
- Upward Bound' is a long lost, incredibly rare and very expensive classic disco era album! It combines soul, funk with and slick pop appeal into a great cocktail of grooves and melodies! This will drive you to the dancefloor and make you sing along at the same time! The lush arrangements, tight grooves and powerful soul vocals with catchy harmonies make this album an instant evergreen. I'm least surprised that the arrangements should pose a challenge to every rhythm section and that the catchy melodies instantly stick to the listener. The flashing horn arrangements are amazing! The funky bass grooves and guitar riffs weave a cocoon of sound around your soul. The sound is certainly clean but also vivid and the music feels grounded despite it's larger than life expression. The swirling backing vocals in combination with the lead singer are the icing on the cake that already consists of catchy and outstanding songs. This is more funk and soul than simple disco music. There is depth in the arrangements with awesome details as you delve deeper into each single track. You can of course groove along and just enjoy the songs as they are, but be sure to at least be on the lookout for the beautiful ornaments in each song. This music will surely move you, it makes it impossible sit still . In this album you'll find a wide range of funky music, from Slow groovers to fast paced tunes, you will get them all. Some with a deep atmosphere, some energetic, all of them memorable with arrangements that keep your attention going even with the 50th spin on your turntable. To my opinion this album is an unmissable gem of the disco era at it's peak! The original album retails at $ 400 going up, rarely a decent copy could surfaces on the market once a year. So here's a chance for you to grab an affordable copy of this well-deserved and long overdue reissue on vinyl and be enchanted!
Legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
'Simigwa' was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.
Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .
Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.
Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.
- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.
Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).
Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.
Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.
Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.
Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.
Feedback - Web Web - oracle :
"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik
"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung
"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de
"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org
"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul
"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle
"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder
Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.
Parrish Smith makes his Dekmantel debut on the label's sister-techno imprint, UFO, with a blend of avant garde electronics and industrial.
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With the 'Sex, Suicide & Speed Metal EP', Dutch producer Parrish Smith works outside of the realm of genres and tempos, creating his own unique template of saturated, electronic post-punk, having won accolades from the likes of Nina Kraviz, and Ron Morelli along the way. An analogue purist at heart, Parrish Smith has already amassed a cult following with regular appearances on Red Light Radio, in which the anarcho-experimentalist broadcasts sessions of heavy industrialism, breakbeats and body music.
Parrish Smith's music brings together classic analogue gear and a love for the fusion of aggressive industrial sounds. With title track 'Sex, Suicide & Speed Metal', Parrish Smith channels his inner Alan Vega, with some screaming guitars, and 65bpm machine-crunching body beats, lurching into a sultry space of slick wave music. 'Mute' jacks up the feeling of tempo, rife with energetic drum machines, pulsing synths and retro-fitted vocals, similar to the sound of something Daniel Miller might have released himself back in the early 80s. 'SKINS', delves further into the mechanical, with a grinding bass that bleeds through the track's entirety, while 'Fall into sin' sees him explore the world of deconstructed, gothic-pop yet further. Parrish Smith will be DJing, and performing live as Volition Immanent at this year's Dekmantel Festival, to fulfil the festival's charter of provocative, and intoxicating, energetic beat-filled music.
Unusual Colour And Complex Microtonality Found In The Classical Music Of Iran / Blurts Of Noise, Sour Tones, And A Vaguely Technoid Or Dubwise Impression Expose The Inner Rhythm And Counterpoint Embedded In This Strummed Music / Emotional, Mathematical And Polyrhythmic Principles Underpinning Persian Music, The Record Reveals A Dramatic Blend Of Acoustic Persian Instrumentation And Contemporary Electronics. Sote Aims To Devise An Idealised Fusion Of The Musical Heritage And Tradition Of Iran With The Forward-thinking Vision Which Has Propelled His Storied Career Producing Techno, Hardcore And Computer Music For Labels Like Warp, Ge-stell, Morphine And Repitch. Now Living In Tehran, His Music Has Frequently Grappled With The Strict Cultural Restrictions Imposed In His Country Over The Past Few Decades, Finding A Space And Setting To Nurture New Developments In Experimental Sound And Performance. Working With Arash Bolouri Who Plays The Santour (persian Hammered Dulcimer), And Behrouz Pashaei On The Long-necked, Four-string Setar, Sote Frames And Responds To Their Traditional Artistry. On Occasions He Directly Manipulates The Music Emanating From Their Ancient Instruments, Cultivating And Thickening Up A Surreal And Beautiful Tonality Plucked From Their Strings With A Series Of Processing Techniques, But Mostly Each Track Is A Peaceful Arrangement And Partnership, Sote Electro-acoustically Augmenting Their Movements Within His Own Cybernetic Framework.
Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.
Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960's Avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.
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Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same
time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's
folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him
to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained
in both musical cultures.
The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music
was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more
the quality of the recordings. The result is a truly impressive and pure audiophile album.
On A side, electronic music wizards Kompozyt team up with a Dub Legend Lee 'Scratch' Perry to bring you a heavy-hitting and instant bounce-inducing Dub Techno track 'Hidden Force'. Lee Scratch Perry's amazing and charismatic Dub poetry blends superbly with the neat fusion of spacey and subterranean sounds of Kompozyt productions. The single is not to be missed this summer.
On B side, Kompozyt brings you a 7' version of 'Homesick' - Dub and Trip-hop inspired Experimental Electronica with Olgierd Dokalski on the trumpet. Olgierd's incredible performances of real haunting beauty further reinforce the analog, live and improvisational aspect of Kompozyt's music.
Both tracks come from Kompozyt's debut album: 'Synchronicity' - out everywhere now on CD and DL.
Selected Reviews of Kompozyt's Debut Album and the Single
5/5 Decoded Magazine: 'Incredible album 10/10'
4/5 Lars Berhenrot (Deepershades): 'LOVE THIS .. never-ending deepness ..'
5/5 Pierre Ravan: 'Amazing work from the heart'
5/5 Queensradio.org: 'I'll definitely be playing these guys on air'
4/5 Garth Trinidad (KSRW Radio) 'Exquisite score without a film'
5/5 Hoxton FM (London): 'Incredible release!'
4/5 Stereo MCs: 'Nice vibes refreshing'
4/5 Robert Babicz: 'I love dub. in all forms'
5/5 Adam Hannibal (Balanced) : 'Neat fusion of spacey and subterranean sounds. Reminiscent of the Beyond Recs Ambient Dub compilations with some freshness... Well done'
5/5 Al Bradley (3amrecordings): 'This needs full love because it's excellent :) I can really picture myself just letting this play from the first sound to the last & becoming utterly immersed as it flows through! Gorgeous.'
5/5 Bartlomiej Blesznowski- 'One of the best electronic music albums this year'
4/5 Neil Brown (RMFM; Pro Mobile Magazine): 'Some nice tunes to get your head in gear to.'
5/5 Jorn Kirk (DJ Jay Kay) (Faith Sundays): 'very nice album !!! a joy to listen to'
· Album presentation live @ Camden Assembly London, 13th June
· Genre-spanning UK jazz artist who has worked with the likes of Craig Charles Fantasy Funk Band, Nightmares On Wax, The New Mastersounds, and Rae & Christian
· Follow-up to the debut and highly credited La Sombra from 2017
· Features guest UK trumpeter Matthew Halsall on 'The Mirage'
· La Sombra made Gilles Peterson's 'Best albums of 2017' list, with a track included on Brownswood Bubblers 12
· Part of the Matthew Halsall live band and toured with Dwight Trible
Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham's globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip's many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights.
After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, 'Barrio 71' sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. 'Snake Eyes' taps into the meditative exaltations of modal jazz, while 'Soho Strut' nods to the jazz fusion, funk-influenced side of Chip's playing.
Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. "Shamal Wind" is a heavy record, built on strong foundations.
Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.
On "La Sombra":
"This is coming from the outside, I was like whooooa, easy. Blowing hard - they got it right! Gilles Peterson
"I'm becoming convinced that Chip Wickham is a genius" Craig Charles
"An impressive solo debut" London Evening Standard
"Majesterial and electrifying stuff" 9/10 Blues & Soul Magazine
"Tonally and melodically elegant and with a distinct 1960s/1970s vibe" Scotsman
It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.
In celebration of 20+ years since their classic debut Uptown Saturday Night, Bronx duo Camp Lo present a special double-album 2XLP with On The Way Uptown & The Get Down Brothers. On The Way Uptown features a collection of demos and unreleased songs made between 94' - 95', leading to their official debut in early 1997. Aside from the early versions of their hits Luchini (AKA This Is It),' Sparkle,' Black Connection,' and Coolie High', other standouts include World Heist', Coolie High Is Life' & A Piece of the Action'.
On The Get Down Brothers, Camp Lo completely pivot away from their 90's nostalgia into a much more futuristic and experimental sound. Although the production is different, their signature tongue-twisting and hype flows remain, creating a unique and seamless fusion packed into 10 dynamic tracks.
Orlando Voorn is back on Tarvisium Electronique with 'Secret Society,' a mysterious, obscure and psychedelic EP exuding the essence of Detroit techno. Side A of the vinyl features the title track in which Voorn melts the analogic rhythm with a spectral melodic pattern. Side B features two tracks; 'Playing for keeps,' a techno bolt of lightning bound straight for the dancefloor and 'Rush,' a track characterized by a mechanical, analogic and highly experimental sound.
To conclude the EP the label manager, Steve Lorenz, has composed a remix of 'Secret society' with an avant-garde fusion of minimal, acid and Detroit techno.
