Suche:the rhythm

WE JAZZ RECORDS presents ' Pu: ', the boundary-breaking solo debut of bass player Ville Herrala, to be released on 21 February 2020. Utilising only the double bass but looking at the instrument from various different perspectives. The end result is an inspired set of 14 miniatures, each pushing the concept forward in a highly personal way.

The first single "Pu: 12" presents a rhythmic approach with echoes of from the world of minimal classical music and electronic music. Bowed tracks such as "Pu: 2" offer another perspective, as does the second single "Pu: 10", going back to the essence of the instrument and opening new doors while doing so. Each of the tracks is a compact musical adventure unto it's own.

Ville Herrala (b. 1979) is one of the most higly-regarded bass players working in the Finnish scene. He's known from the ranks of such top ensembles as PLOP, Jukka Perko Jazztet, U-Street All Stars, Jukka Eskola Orquesta Bossa and UMO Helsinki Jazz Orchestra, to name but a few.

Canadian born, Berlin based producer Aquarian makes his full length album debutThe Snake That Eats Itselfon Bedouin Records.
This record follows his collaborative EPs with Deapmash as 'AQXDM" and is his first solo release since his 2016 experimental mixtape for Quiet Time. Nearly five years in the making, 'The Snake That Eats Itself' is Aquarian's most complex, diverse and emotive work to date, plunging his trademark UK sound-system/techno hybrids into a self-contained, cinematic universe streaked with heavy influences from industrial, IDM, drone and dark pop music.

It's written in Brooklyn, New York, in a deeply transitional, yet seemingly endless period preceding his relocation to Berlin, the title of the album refers to the Ouroboros, a mythological serpent symbolizing the cycle of birth and death and infinity itself.
'The Snake That Eats Itself' pits Aquarian's most abrasive and brutal moments next to his most wistful and introspective.

Viscerally thick layers of tape saturation envelop the album as sludgy synths ooze against brittle atmospheres; breakbeats fragment, explode and disintegrate into swarms of delay and noise; scorched, metallic percussion - sampled from a year-long demolition and construction project next to his apartment - forge the rhythmic backbone of the album. These elements, however, seamlessly make way to startlingly crystalline and shimmering ambient passages, offering a sense of reprieve and balance.

Riding high on the success of his recent Soul Flip project, Del Gazeebo busts loose here with a pair of Rootsy, rigorously road-tested, certified party starters on his own brand new Art Surgery imprint.

First for a 2020 freshen-up is Barbara & The Browns' sassy, soulful rendition of the Rhythm & Blues and Reggae classic, "You Don't Love Me" - taking the already energetic 1971 recording, stretching it out, and giving it a little something extra in all the right places. Already touted as "one to watch in 2020" on the BBC's Craig Charles Funk & Soul Show & getting support from The Allergies, Smoove & Jalapeno Sound System.

On the flip, Pluto Shervington's 1976 uplifting Reggae smash "Dat" gets a subtle yet crucial lift to make it even more infectious. This sunny, irresistible ear-worm has long been a staple of Del's DJ sets, yet somehow as yet unreleased. Until now; re-refreshed for 2020.

Adeen Records and it's partnership with Red Light Bangkok are bringing you the funky sounds of Scott Hess. Hailing from Detroit, Michigan With time being spent living in Shanghai and Berlin now residing in Bangkok, 'Red Light Bangkok 01'. The 3 track EP was forged out of the thick haze of Thai funk that permeates the vivid colours of this city. From the low-slung freakiness of 'The Rhythm', to the subtly sinister, synth-heavy groove of 'Circle Of Funk', and all the way through to peak-time, jacking house of 'Red Light' - each track is fused with Michigan flavour and South-East Asian steam in almost equal measure.

Having made a huge impact amid Carl Craig’s celebrated 2019 entry in Planet E's Detroit Love mix compilation series, Ataxia's anthemic ‘Oblivion’ arrives on vinyl for the first time alongside a new cut, ‘Michaelangelos’. Each track takes Ataxia’s notoriously detailed production techniques and applies them to a widescreen, enveloping template.

Constructed from rubbery basslines, wormholes of rave power and a structure that applies tension and release to killer effect, ‘Oblivion’ has continued to engross dancers since it’s digital release, transmitting an increasingly rare blend of minimal yet maximal rave pleasures.

On ‘Michaelangelos’, Ataxia further demonstrates a fluid ability to keep listeners on their toes, shuffling the deck but applying the same irresistible tricks to a rhythmic, tripping cut and the unexpected sample at its core.

Consisting of Eric Ricker and Ted Krisko, Ataxia have previously released on labels including Visionquest, 2020 Vision, Leftroom and Kevin Saunderson's KMS Recordings. They currently hold down long term residencies at the legendary Marble Bar and TV Lounge in their hometown of Detroit.

We are proud to present another debut on Axces Records, this time from label head Alfredo92. The A side kicks off with Mimis, an explorative bass driven track with crisp snares and bubbling synthesizers. Next up is the title track Helfand, whose experimental sounds and textures take things in a mystic IDM like direction.
On the B side we Adax_pcp, a hypnotic club cut which further explores complex pulsating outernational rhythms. Finally to seal the deal we have Scalex, a twisted dancehall tune with splashes of futuristic sound design.

Salford's Cong Burn drop the latest in their ongoing 12" series feating entries from regulars Chekov, Perfume Advert & Lack, with newcomer Tonto making their debut. At A1 Lack provides a low key roller subtely flashing glimpses of their studio sleight of hand and their ability to craft rhythms with real momentum. Tonto's 'Rust' slows things down with a sub 110bpm DJ tool that pings splashy springs, bird calls and ascending sine tones - made for long blends and layering!

Leeds' own Chekov continues to intricately weave interlocking melodies in their most finely sculpted effort to date - with some
Idiots Are Winning indications which are more than welcome. Salford/Teeside's Perfume Advert wear their heart on their sleeve
for an emotional 130bpm+ closer.

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique.

Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

“Media Burn” is the debut EP by TOTEM – 4 succinct slabs of industrial electronics and rhythmic noise forged in the spirit of hardcore punk. The project is loosely based on themes of media consumption, symbolism, illusions, and control. The artist embraces an austere process born of limited means: samples mangled beyond recognition and rearranged according to some obscure logic.

The results are self-described as “industrial skronk” – sculptures made entirely from audio debris that had another life, now twisted and repurposed by an unseen hand into something new and unfamiliar.

Latest Vaerel Records artefact limited to 200 copies, bringing together 5 different visions of the label's esoteric aesthetics. The manager of the label Raar bringing powerful percussion accompanied by samples of "Making of a Cyborg". Newcomer Quelza provides us his signature techno with broken rhythms and intriguing synths, then AWB continues to hypnotize us with his deep techno and finally Zadig & Ruhbarb team up for a tool full of high-speed drums and sharp cymbals.

This is the long-awaited second installment of the layer series by Eqwel and Jeff Thompson is to soon come. The fifirst release amd all releases that are part of this series is always minimally processed, using less compression with higher sample rates. The primary side has been cut with Eqwel’s original version, which carries on his style of artistic creativity. The track is layed with hard rhythm’d kicks with illustrious soundscapes incorporating sticky basslines. On the flflipside, track one is Eqwel’s answer to a club banging version of the original creation. This track starts strong and ends strong and the events that happen in between is beautiful and uplifting! This is defifinitely a banger for the clubs, that can be incorporated at the peakest of your sets. The fifinal track has been taken from Eqwel’s ” Audio Telemetry EP “. As always, these tracks are recommended to test and push your sound system!

Bram De Looze is a Belgian pianist and composer whose distinct musical vision has found its way through both solo projects and collaborations. His unique technical skill and musical maturity have earned him considerable critical acclaim back home as his work spotlights his far-ranging interests - from traditional classical piano music, to solo improvisations that have often been compared to Keith Jarrett and Jason Moran. On the 21st February 2020, Sdban Ultra will release his highly anticipated new solo album, 'Colour Talk'.

De Looze made his entrance onto the national jazz scene with LABtrio, formed in 2007 with Anneleen Boehme and Lander Gyselinck, and he immediately impressed, flirting with urban jazz, electronics and hip hop.

After a period of studying abroad at the New School for Jazz and Contemporary Music in New York, where he studied with Uri Caine and Marc Copland, in 2014, De Looze launched the international septet, Septych, that once again stressed his affinity for jazz, classical music and improvisation. With diverse and astounding improvisors like Daniel Levin, Lester St-Louis, Robin Verheyen, Gebhard Ullman, Bo Van Der Werf and Flin Van Hemmen, it was the start of an explorative musical journey.

Over the past few years, De Looze could frequently be heard with kindred spirits like Stephane Galland, Dre Hocevar and Antoine Pierre but it was a visit to the historical collection of pianofortes of Chris Maene that inspired De Looze to release his first solo album 'Piano e Forte' (2017), and it received critical acclaim for its creativity, spontaneity and passion. He would later garner further acclaim working alongside fellow Belgian Robin Verheyen and American rhythm painter Joey Baron with whom he recorded 'MixMonk' (2019), a tribute to the legendary jazz pianist Thelonius Monk.

Bram De Looze's solo career took off in an unexpected way with 'Piano e Forte', a project for which he approached historical instruments from a contemporary perspective. The switch to the Chris Maene Straight Strung Grand Piano for 'Switch The Stream' (2018) indicated a renewed search for movement, evolution and introspection. His latest solo project 'Colour Talk', continues this trajectory with another revolutionary piano model, designed by lauded architect Rafael Vinoly, and a continued attempt to renew from within.

On 'Colour Talk', what you hear is a musician who has freed himself from stylistic constraints and limitations. While still rooted in jazz, classical music and free improvisation have found a new balance, a coexistence that enables the pianist to express himself with a new vigour. Switching between shorter pieces that feel like curious, unresolved puzzles and more extended explorations, 'Colour Talk' is once again an ode to (re)invention in the grey zone were the classical idiom and improvisatory urges meet, with the 13-minute tour-de-force of 'Hypnosis' as one of several undisputed highlights.

If you asked De Looze about his current position as an artist, he would probably tell you that it's all about forward movement and the need to keep evolving, about a trajectory as work-in-progress. However, if you consider 'Colour Talk' as a freeze frame of where De Looze is at, it is hard not to consider it a highlight in a career that should have some more surprises in store.

Succeeding last year’s collaborative single ‘Feel My Butterfly’ which saw Chicago house DJ/producer Parris Mitchell and Siberian producer-singer-songwriter Nina Kraviz go head to head via Riva Starr’s Snatch! Raw and Dance Mania, February 21st sees the two labels combine once more for a special, two-sided remix package of the stellar ghetto house track featuring reworks from the likes of Jamie Jones, Dance System, DJ Deeon, Radio Slave and DJ Slugo.

‘Feel My Butterfly’ stemmed from Nina Kraviz’s trip to Chicago where she met with Dance Mania’s label crew including their influential selector, Parris Mitchell. The track was birthed from a bout of rare collaborative studio sessions and is their first official release together - their only previous encounter being in 2014 when Kraviz remixed Mitchell’s ‘The Track Stars’, on Berlin-based label Deep Moves.

Assembling a handful of some of the most prominent names in modern dance music, Snatch! Raw teams up with Dance Mania once again to now present a comprehensive remix package of the duo’s acid-laden, dancefloor-ready masterpiece. Providing a touching tribute to the late influential American house artist and Wallshaker Music founder, Aaron Carl, the illustrious Welsh house DJ/producer Jamie Jones kicks things off by inflaming the track’s heavy bass and percussion by adding his own laser-style synths and atmospherics.

Reinforcing ‘Feel My Butterfly’ with helpings of meatier, old school house rhythm, the second remix sees London’s Dance System team up with Chicago house pioneer DJ Deeon to provide the track with some well-placed elevated pace and precision. On side B, the British-born Berlin-based DJ, Radio Slave takes more a of stripped back approach by opting to just few vocal snippets from the original and setting them to a tougher techno-infused aesthetic, whilst on the final rework, Chicago’s ghetto house spinner DJ Slugo redefines Kraviz’s hypnotic vocal lead.

VCS have been translated from their natural, organic Latin grooves into acid line, Cumbia rhythm remixes in the latest Lovedancing plate.
Razor-N-Tape honcho, JKriv, joins Whiskey Disco boss, Sleazy McQueen, for three hot hot hot remixes taken from the latest Vagabundo Club Social EP, Pambele.

The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.

In late 70's and early 80's Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.

Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer.

Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.

The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.

Al-Munzer’s five titles from the 1970's and 1980's are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.

Notes by Natalie Shooter, a music journalist and researcher based in Beirut, edited by Will Sumsuch.

Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and it's a representation of Perry’s significant production skills. Lee ‘Scratch’ Perry was a pioneer in the 1970's development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Sotomayor is the electronic music project with afro latin influence by siblings Raul (music production) and Paulina (vocals). It is a dance music project that fuses rhythms like cumbia, afro beat, dancehall, Peruvian "chicha" and merengue with futuristic electronic beats.

The band debuted in 2015 with "Salvaje," an album that allowed them to perform in several festivals around the globe in countries like England, US, Mexico and Colombia.

The album received excellent reviews from foreign media in countries like Japan, Australia, United Kingdom, Chile, United States and Colombia. They also appeared in more than 25 lists of the best of the year from medias from all around the world. 2020 will see the release of "Orígenes" their 3rd studio album trough the NY based label Wonderwheel Recordings.

This album was recorded between Mexico and Puerto Rico, and was produced by the 28 times Grammy Winner Eduardo Cabra aka "Visitante" from the legendary band "Calle 13." In this production Sotomayor explores a new Afro Caribbean vision in the music, much more dance floor focused, and highly influenced by percussion