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Strut revives a lost recording from the archives in January with a 2002 collaboration between acclaimed South African folk singer Vusi Mahlasela, singer songwriter Norman Zulu and Swedish jazz / soul collective Jive Connection. Sotho folk singer Vusi Mahlasela, dubbed "The Voice" Of South Africa, performed at Mandela"s inauguration in 1994 and has enjoyed his own long relationship with Sweden, regularly embarking on cultural exchanges and forging a strong bond with the Jive Connection band, featuring guitarist / bassist Stefan Bergman and Little Dragon drummer Erik Bodin within its line-up. Although touring regularly, the collaboration has rarely been documented beyond a lone studio album in 1994. This "lost" recording, discovered in the archives of producer Torsten Larsson, also features songwriter / vocalist Norman Zulu and showcases their natural musical chemistry together. Vusi"s songs have traditionally addressed the struggle for freedom and the need for reconciliation and, here, his lyrics are as powerful as ever, ranging from parables ("Prodigal Son") to an unflinching lament on child abuse ("Faceless People"). Jive Connection vary the soundtrack, bringing in hints of reggae, jazz and post-punk alongside traditional township arrangements.

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

On their transformative debut album Nakshatra, violinists Trina Basu and Arun Ramamurthy reach both deep into their past and high into the celestial realm, culminating in a lush and spiritual collaboration that bridges traditions and defies genres

A Sanskrit word evocative of constellations, stars, and interconnectedness, nakshatra perfectly encapsulates the album's expansive sound, which quite surprisingly, is made by just two violins vibrating together in sublime harmony.

Profoundly intimate yet bearing a cinematic gravitas, this work five years in the making conveys a feeling of two souls in conversation spanning hundreds of years into the past and the future. Basu (Karavika) and Ramamurthy (Arun Ramamurthy Trio) are deeply rooted in traditions of South Indian classical music, Western chamber music, and jazz, uniquely positioning them to create a sound that feels ancient, orchestral, and contemporary or as The New Yorker put it, "free- flowing and globe- spanning.

Through the duo's grounding in tradition paired with their fluency in improvisation, the compositions on Nakshatra have a clear architecture, which allows space for
their two violins to be deliciously indiscernible while shining individually. Basu
says of the duo's collaboration, our hope for our music is to be a meeting point for
the tradition of South Indian classical music raga music that Arun comes from
and Western classical music and creative improvisation that I come from, and
bring these pieces together in a way that creates a sound that reflects who we
are, a sound that reflects our multicultural background, and our experiences in
this world."

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework.

Dedicated to Peter Rehberg aka Pita

Ata 'Sote' Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute and Morphine, among others. In 2018, he founded a new label called 'Zabte Sote', which focuses on releases by Iranian experimental electronic composers from around the globe.

Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.

Comet Records present the new reissue out of the Comet new reissue series, Dilijans by Ayizan. A mind-blowing session of Spiritual Jazz recorded in NYC in 1984 led by Haitian genius Alix Pascal blending traditional Ra Ra elements with modal/spiritual melodies. The result was like nothing else coming out of Haiti or the Haitian exile community in the US at the time. Dark, mystical, lyrical and abstract, with its otherworldly shifting rhythms, Dilijans came off like a Haitian version of Bitches Brew.
The album sounds less like a stylish mini-jazz performing in a hotel dancehall than like a cry of ancestors emanating from the spirit world to lament over the complications of modern Haitian society.

Symphonische Extrem-Heavy-Metal-Band aus Stockholm - gegründet und geleitet von Multiinstrumentalist und Songwriter Zorn. Nachdem er sich von Dark Funeral trennte, war er entschlossen, mit seiner neuen Band Zornheym den traditionellen "Metal-meets-Symphony"-Ansatz aufzurütteln. Zornheym entwickelte sich schnell von einer ambitionierten Idee zu einem dramatischen musikalischen und narrativen Konzept, das sich um die Schrecken einer psychiatrischen Anstalt und ihrer Häftlinge drehte. Vier Jahre, nachdem die Tore der Anstalt erstmals erdacht wurden, wurden sie mit der Veröffentlichung des Debütalbums endlich geöffnet. Wo Hass wohnt und Dunkelheit herrscht. " Dieses Album stellte das erschreckende Konzept des Asyls und die darin enthaltenen schrecklichen Charaktere vor. Zornheym's Sound wurde als kraftvoll und filmisch beschrieben und das zweite Album lädt dazu ein, diese Erfahrung in "The Zornheim Sleep Experiment" fortzusetzen, das tief im Inneren der Anstalt stattfindet. Mit einem echten Chor und einem Streichquartett kreieren sie erneut ihre Klangwand und lassen die Geschichte in einer Graphic Novel zum Leben erwecken, die die Geschichten des Albums begleitet und erweitert.

Zornheym debütierte auf dem französischen Motocultor-Festival und sie haben ihre energiegeladenen, bombastischen Erfahrungen auf vielen weiteren Festivals und Veranstaltungsorten in ganz Europa weitergegeben.

Symphonische Extrem-Heavy-Metal-Band aus Stockholm - gegründet und geleitet von Multiinstrumentalist und Songwriter Zorn. Nachdem er sich von Dark Funeral trennte, war er entschlossen, mit seiner neuen Band Zornheym den traditionellen "Metal-meets-Symphony"-Ansatz aufzurütteln. Zornheym entwickelte sich schnell von einer ambitionierten Idee zu einem dramatischen musikalischen und narrativen Konzept, das sich um die Schrecken einer psychiatrischen Anstalt und ihrer Häftlinge drehte. Vier Jahre, nachdem die Tore der Anstalt erstmals erdacht wurden, wurden sie mit der Veröffentlichung des Debütalbums endlich geöffnet. Wo Hass wohnt und Dunkelheit herrscht. " Dieses Album stellte das erschreckende Konzept des Asyls und die darin enthaltenen schrecklichen Charaktere vor. Zornheym's Sound wurde als kraftvoll und filmisch beschrieben und das zweite Album lädt dazu ein, diese Erfahrung in "The Zornheim Sleep Experiment" fortzusetzen, das tief im Inneren der Anstalt stattfindet. Mit einem echten Chor und einem Streichquartett kreieren sie erneut ihre Klangwand und lassen die Geschichte in einer Graphic Novel zum Leben erwecken, die die Geschichten des Albums begleitet und erweitert.

Zornheym debütierte auf dem französischen Motocultor-Festival und sie haben ihre energiegeladenen, bombastischen Erfahrungen auf vielen weiteren Festivals und Veranstaltungsorten in ganz Europa weitergegeben.

Albrecht Schraders erstes in kompletter Eigenregie produziertes Album "Soft" fasziniert nicht nur mit einem eindrucksvoll breiten Sound- und Genre-Spektrum, in der die kompositorische Handschrift Schraders immer erkennbar bleibt, sondern auch mit Texten, die so konkret wirken wie selten zuvor: "Als ich noch jung war / Ging es mir seltsam." Mit "Soft" gelingt Albrecht Schrader ein Album von nicht nur inhaltlicher sondern gerade auch musikalischer Vielfältigkeit, das hierzulande seinesgleichen suchen dürfte. Es schließt selbstbewusst an die Tradition von Popmusik an, die sich schon immer um die Fusion von komplexer und bis ins Detail präzise auskomponierter Musik mit gleichzeitig vorzeigbarer Catchiness und Pop Appeal (Du wunderst dich über den Zeitpunkt, Cardigan of Love) gekümmert hat. Und es wirkt so, als hätte Schrader den Faden, der 2015 mit der ersten Single "Leben in der Großstadt" begann, mit seinem kommenden Album "Soft" im Jahr 2023 nun endlich entrollt. Von 2016 bis 2019 leitete Schrader für das "neo magazin royale" das Rundfunktanzorchester Ehrenfeld. Albrecht Schrader schreibt und produziert Musik für Theater, Film, Fernsehen, Games und andere Künstler*innen.

A pure journey inward into the headspace of an artist, that reveals his gaze at the earth-ly zones he walks in: “Song for Joni”, the new album by Japanese musician Shunji Mori, brings pure natural music full of artificial nuances who create in conversation with ana-logue tones a new kind of musical nature, loaded with vibrant seasons, unknown to us, the unwise humans. moreover, the album is a fine continuation of Japan’s rich ambient leaning music traditions, carrying them into Lorren Connor’s like pending guitar galaxies.

In the 1990s Tokyo based Mori was part of the trip hop, nu-jazz, deep house, and down-tempo duo natural calamity, releasing a string of albums and EP’s on labels like legend-ary London based imprint Nuphonic, Japanese Idyllic Records or Down 2 Earth Record-ings.

In 2003 he launched the instrumental guitar duo Gabby & Lopez with his buddy Masayuki Ishii. Together they created three albums and performed live. Additionally, Mori plays improvisational concerts with Japanese musician, multi-instrumentalist, and stage direc-tor Daiho Soga and finds time to invent his very own, charismatic guitar music.

His solo work now finally gets introduced with a full-length album for Studio Mule, con-sisting of recent and a decade ago compositions, all merely recorded with the electric guitar, pedals, and field recordings.

In the center of “Song for Joni” is the guitar, spreading longing, drifting melodies. Free floating, yet deeply felt compositions, performed in an accurate journey music style. around the string notes, ambient landscapes soar and vanish.

In some moments, the guitar works like a slow-mo yacht rock lead, flying speed less over and under imaginative sonic clouds. Then, Mori’s music distributes psychedelic ef-fects in the tradition of krautrock legends like Günter Schickert, just without the echo fuzz.

Additionally, in warm vibrating seconds, his creations remind on the calm flashes in the musical work of English photographer, musician, and artist designer Steve Hiett, while Mori’s ambient spheres come close to the magic vibe of records like “Pier & Loft” by his fellow countryman Hiroshi Yoshimura.

A mixture, that transports considerate listeners into the meditative world of Shunji Mori, a calm island of bliss, made for all those that follow the heedful path of life.

IMPERIUM DEKADENZ entfesseln atmosphärische Dunkelheit!
Mit ihrem neuen Album, Into Sorrow Evermore, das am 20.01.2023 über Napalm Records erscheint,
beschwören IMPERIUM DEKADENZ einmal mehr die Dunkelheit aus den Tiefen des Schwarzwalds. Inspiriert von den Traditionen des norwegischem Black Metals, entwickelte die Band ihren eigenen Stil, der atmosphärische Kompositionen mit einem rohen Sound mischt. Mittlerweile prägen IMPERIUM DEKADENZ
seit knapp 20 Jahren das Genre, bleiben dabei aber stets ihren Wurzeln treu und beanspruchen so ihren
rechtmäßigen Platz in den oberen Rängen des Black Metals.
Der Opener und Titeltrack ”Into Sorrow Evermore” lässt klassische, tremolo-gespielte Black-Metal-Gitarren
mit wetternden Drums verschmelzen und erschafft so eine drückende Atmosphäre, die von der mitreißenden
Stimme von Sänger Horaz untermalt wird.
Into Sorrow Evermore ist ein intensives Album, das gelungen Elemente verschiedener Genres kombiniert und
dabei die Essenz des Black Metals niemals aus den Augen verliert. IMPERIUM DEKADENZ präsentieren
ihren eigenen, atmosphärischen Stil mit hohem technischem Können und behaupten so ihren würdigen
Platz an der Spitze der Szene.

When the 60’s turned into the 70’s there was a musical crossroads. The American blues had had it’s run with teens on both sides of the Atlantic long enough so that the blues-offspring named rock’n’roll had to expand or die. It did not die, it expanded in all kinds of directions! And right there in the crossroads between blues-based rock and all the world’s other sub-genres of rock, something happened to the blues. The format got experimented with, expanded and almost made unrecognizable. But at the same time the roots to the original ’real’ blues was never lost. Where Peter Green left Fleetwood Mac in 1970 with the track «Green Manalishi», where Johnny Winter stretched his musical legs, where ZZ Top bought Marshall full stacks and shot from the hip, and last but not least where the legend himself, Muddy Waters, stretched the limits of that was ’legal’ with the album «Electric Mud». And not to forget Jimi Hendrix, Free, Canned Heat and the rest of the gang from the Woodstock-era. The result was a highly electric musical revolution, where e.g. the newly born genre hard rock walked hand in hand with traditional delta blues. It is out from this musical mud The Devil and the Almighty Blues have found their inspiration. Formed in 2010, their music is slow, heavy, melodic and raw, all without losing the almighty blues out of sight. Filled with a profound love for the old heroes of the blues walking hand in hand with rock, metal, country and last but not least punk.

When the 60’s turned into the 70’s there was a musical crossroads. The American blues had had it’s run with teens on both sides of the Atlantic long enough so that the blues-offspring named rock’n’roll had to expand or die. It did not die, it expanded in all kinds of directions! And right there in the crossroads between blues-based rock and all the world’s other sub-genres of rock, something happened to the blues. The format got experimented with, expanded and almost made unrecognizable. But at the same time the roots to the original ’real’ blues was never lost. Where Peter Green left Fleetwood Mac in 1970 with the track «Green Manalishi», where Johnny Winter stretched his musical legs, where ZZ Top bought Marshall full stacks and shot from the hip, and last but not least where the legend himself, Muddy Waters, stretched the limits of that was ’legal’ with the album «Electric Mud». And not to forget Jimi Hendrix, Free, Canned Heat and the rest of the gang from the Woodstock-era. The result was a highly electric musical revolution, where e.g. the newly born genre hard rock walked hand in hand with traditional delta blues. It is out from this musical mud The Devil and the Almighty Blues have found their inspiration. Formed in 2010, their music is slow, heavy, melodic and raw, all without losing the almighty blues out of sight. Filled with a profound love for the old heroes of the blues walking hand in hand with rock, metal, country and last but not least punk.

"SHAOT REGISHOT" ("Sensitive Hours"), das Gold-Album, das Avishai Cohen zwischen "GENTLY DISTURBED" und "AURORA" auf Hebräisch aufgenommen hat und bisher außerhalb Israels unveröffentlicht war, ist jetzt überall auf CD und Vinyl erhältlich. Zum ersten Mal in seiner Karriere ist dieser Release kein Instrumentalalbum, sondern ein Album mit wunderschönen Liedern, die Cohen selbst geschrieben hat und selbst performt - stark vom Jazz und von traditioneller Musik beeinflusst, getragen von einer Stimme mit vielen Akzenten und unglaublichem Charme.
...Ein unverzichtbarer Meilenstein in seiner ohnehin schon reichen Diskographie.

Avishai Cohen (Kontrabass, E-Bass, Keyboards, Klavier, Gesang)
Und mit:
Shai Maestro (Klavier), Mark Guiliana (Schlagzeug), Amos Hoffman (Oud), Karen Malka (Gesang), Lenny Ben Bassat (Fender Rhodes, Schlagzeug, Keyboards, Programmierung), Alberto Pinto (Flöte), Bjorn Samuelson (Posaune), Lars Nilsson (Flügelhorn), Adam Sheflan (Gitarren), Avshalom Sarid (Bratsche), Tal Isenberg (Bratsche), Pavel Levine (Bratsche), The late Yitzhak Simcha (Gebetsgesang), Hila Zaharur (Gesang), Dana Adini (Gesang), Rea Bar Ness (Schlagzeug), Eyal Heller (akustische Gitarre), Gil Luis (elektrische Gitarre), Itamar Doari (Perkussion), Ran Salem (Altflöte), Oded Meir (Posaune), Itamar Doari (Cajon), Ilan Salem (Flöte), Steve Davis (Posaune), Jonathan Volchuk (Posaune), Din Din Aviv (Gesang), Ilan Kachka (Schlagzeug), Zohar Fresko (Schlagzeug), Ora Cohen (Gesang), Maya Belzitzman (Cello), Omer Valber (Leitung)

Dividing Lines ist eine Sammlung emotional starker Denkmäler des ewigen Aufruhrs der Menschheit und mag eine düstere Platte für dunkle Zeiten sein, aber in seinem Herzen liegt eine Botschaft der Hoffnung auf bessere Zeiten.

Wenn die Zukunft dieses Planeten düster aussieht, wird zumindest der Soundtrack spektakulär sein. Dividing Lines ist ein Album voller Schatten und Licht, Verzweiflung und Hoffnung; die menschliche Erfahrung, gerendert in schillernden Breitbildfarben und mit all der Intensität und Leidenschaft aufgeführt, die Thresholds mehr als drei Jahrzehnte aktiven Dienst geprägt haben. Die britischen Könige des Prog Metal sind zurück und bereit, die Welt erneut zu erobern.

Während "Legends Of The Shires" eine in sich geschlossene Erzählung darstellte, die es THRESHOLD ermöglichte, ihrer Fantasie freien Lauf zu lassen, verzichtet "Dividing Lines" auf diesen konzeptionellen Ansatz zugunsten einer traditionelleren Gruppe von Songs, die durch ein verschwommenes, aber unverkennbares gemeinsames Thema verbunden sind.

Gold Vinyl

Dividing Lines ist eine Sammlung emotional starker Denkmäler des ewigen Aufruhrs der Menschheit und mag eine düstere Platte für dunkle Zeiten sein, aber in seinem Herzen liegt eine Botschaft der Hoffnung auf bessere Zeiten.

Wenn die Zukunft dieses Planeten düster aussieht, wird zumindest der Soundtrack spektakulär sein. Dividing Lines ist ein Album voller Schatten und Licht, Verzweiflung und Hoffnung; die menschliche Erfahrung, gerendert in schillernden Breitbildfarben und mit all der Intensität und Leidenschaft aufgeführt, die Thresholds mehr als drei Jahrzehnte aktiven Dienst geprägt haben. Die britischen Könige des Prog Metal sind zurück und bereit, die Welt erneut zu erobern.

Während "Legends Of The Shires" eine in sich geschlossene Erzählung darstellte, die es THRESHOLD ermöglichte, ihrer Fantasie freien Lauf zu lassen, verzichtet "Dividing Lines" auf diesen konzeptionellen Ansatz zugunsten einer traditionelleren Gruppe von Songs, die durch ein verschwommenes, aber unverkennbares gemeinsames Thema verbunden sind.

Acclaimed producer and in-demand collaborator (Lee Ranaldo, Rosalia, Lina_Raul Refree) Raul Refree returns with his second solo album for tak:til/glitterbeat. A kaleidoscopic but seamless mashup of soundtrack music, post-classical meditations, Iberian traditional elements and experimental strategies. Deeply immersive

Originally released in 1969 in a quantity so low that it was once rumored
to not even exist (seriously)
While groups like The Holy Modal Rounders were turning traditional American
folk on its head in the states throughout the 60s, The Maglory Dengluch's
approach took influence from the Scottish and Irish. Armed with banjos, tin
whistles, kazoos, and jugs they recorded the now infamous album to tape.
Officially released for the first time since the storied 99-copy, 1969 run on the long
defunct Granta label and includes exhaustive new liner notes from the band and a
download card with the entire album as well as five bonus tracks recorded during
the same session.

A first time, limited edition pressing of the critically acclaimed 2014
album from the North Mississippi Allstars frontman
Luther Dickinson entered a new phase of his storied musical career with his first
proper studio album of all original songs. As a member of the North Mississippi
Allstars, South Memphis String Band and the Word, Luther has made himself
widely known as both a talented musician and as a producer with four Grammy
nominations to prove it- three in the contemporary blues category and one in
traditional Folk. Pressed on Limited Edition Translucent Green color vinyl.

In the finest tradition of BBE Music’s J Jazz Masterclass Series, we have a real obscurity of quality to savour. Taken from the rare 1978 private press album ‘Introducing’ by the Hideyasu Terakawa Quartet featuring Hiroshi Fujii, this private press gig recording was originally released in less than 100 copies. This BBE Music edition is the first time this very rare album has ever been reissued.

Led by saxophonist Hideyasu Terakawa alongside bassist Tetsuo Miura and drummer Akihiro "Thunder" Nakaya, the album was recorded live in concert as Terakawa stopped by at the jazz spot DIG in Masuda City, Japan, on the first of a seven-day regional tour in October 1978. Joining the trio was the featured guest, vibist Hiroshi Fujii.
According to Fujii, “a special label, Red Horison, released only this one album and it was sold at a few local record stores and available for sale when we played live. After this live recording, I did not perform with Terakawa again.” The current whereabouts of saxophonist Hideyasu Terakawa remain a mystery but we are delighted to be able to present this wonderful album to a new audience.
Unlike previous J Jazz Masterclass releases, the album contains no original compositions but rather fascinating interpretations of material by leading American jazz composers such as Wayne Shorter (Black Nile, as featured on J Jazz vol 3), Frank Foster (Simone) and Milt Jackson and Jimmy Heath (Rerev).

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.