Organic Grooves CD 371 Items

“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960’s and early 1970’s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard...Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

Favorite Recordings proudly presents Deux, second album of French Jazz-Funk quartet Aldorande. In this new chapter, the four explorers pursue their interstellar trip on the Aldorande planet, deploying their ever deeper love for the 70's Jazz-Funk & Fusion scene. Extending their first visions of this new world, the bigger-than-life arrangements of this second album reflect again their high attention to dramatic narrative schemes, breezy Brazilian vibes, tempestuous funky grooves and strong cosmic melodies from outer space. Classic and contemporary at the same time, Deux is built for the like-minded souls still looking for the perfect beat. Twisting time and space but never forcing the groove, the band dives more profoundly into the Cortex influence of their compositions, with intense female back vocals fitting perfectly into their cinematographic vision. Like a cry in space, could these esoteric incantations be heard by Aldorande's divinities? Or will they be more impressed by the super-tight rhythm section with its bangin' basslines or an irresistible blend of drums and percussion? In the end, they probably would have to surrender after hearing the infinite echoes of the synthesizers and horns reflecting in the atmosphere. Deep and thoughtful, the travel has only begun but it seems that so much has already been experienced. Breaking the code, they opened the gates to a rebirth. One that could be only accomplished by finding the “Pierre des Mondes”, deeply buried somewhere on Aldorande - the only key to solve the riddle of the groove. Mission accepted. You'll find in Aldorande some of the best French jazzmen including bandleader and founder Virgile Raffaëlli on bass (Setenta & Joe Bataan, Camarão Orkestra), Florian Pellissier on keys (Iggy Pop, Setenta, Cotonete & Di Melo, …), Mathieu Edouard on drums (Chassol, De La Soul) and Erwan Loeffel on percussion (Camarão Orkestra, 10lec6). On this album, they took the initiative to invite two guests on some tracks: AOR singer Al Sunny and killer guitarist Laurent Guillet (Le Soldat Rose, Setenta).

In recent years disco has made a huge comeback as a collectable genre ranging from the output of classic artists like Donna Summer to obscure gems released across the world from America to Africa. The music on Hey Disco! began to attract interest when the sleeve was featured in the expanded reprint of Jonny Trunk’s 2005 The Music Library book in 2016. In the same year the Big Deal! Weinberger Funk Library 1975-1979 collection featured two tracks - Integration and Hydrogene – from Hey Disco! Integration was an amazing electronic instrumental that had echoes of the sequenced heaven of Donna Summer’s I Feel Love and Hydrogene was an infectious beat driven piece of music. As Hey Disco! was not available digitally, interest remained unsatisfied unless you could get your hands on a rare original copy of the LP. Like, many long established and well run music libraries Josef Weinberger is still thriving today – as JW Media – so I was able to licence the album for reissue directly from them. This vinyl LP was re-mastered from the original tapes by Tim Debney at Fluid Mastering who, as always, has done an amazing job. Bastow’s original compositions on Hey Disco! had a wonderful flow on both sides of the LP. Tracks like Final Destination, Sunset West, Count Off, Sidewalk and Disco Hoedown are as funky as hell and it is a pleasure to allow fans of library music and disco music to be get their hands on this lost gem penned by Trevor Bastow who sadly went to the big disco in the sky in 2000 at the age of 55.

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. Featuring musical contributions from Mary Lattimore, Robin Pecknold (Fleet Foxes), Anant Pradhan, Nick Movshon, Leon Michels (El Michels Affair), Shannon Wise (The Shacks), Dave Guy (The Roots), and Elliot Skinner.

Zurich based drummer Arthur Hnatek presents his first trio record, 'Static'. Joined by his equally fearless bandmates Fabien Iannone on bass and Francesco Geminiani on tenor sax, this is music created by a classic jazz line-up and steeped in improvisational facility, yet simultaneously utterly unlike anything in the standard jazz tradition.

Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, GoGo Penguin, re-imagined through the filter of some of the world’s finest producers and remixers.

For RMX the idea was both simple and inspired; commission a remix of every track from last year’s album and present a total re-imagination of the record, a remix, or as the band title it, a RMX.

In the end they went one better; with a remix of every track (and two of one) plus a remix of the track Petit_a, which was originally released only in Japan before surfacing on their Live from Studio 2 digital EP.

The idea behind RMX was also the catalyst for a remarkably inspired collaboration. The Manchester trio's music has always drawn heavily on electronica (alongside jazz, indie and classical influences) and so commissioning ten of their favourite artists to rework their music made perfect sense - and the results are spectacular. One of the very best remix projects you will hear anywhere.

Amongst the many highlights are Squarepusher’s thumping remix of F Maj Pixie, alongside Japanese producers Cornelius and Yosi creating sublime new landscapes with the band’s music on Kora and Embers. James Holden assembles an epic synth odyssey around Totem and Portico Quartet produce a sympathetic reworking of Don’t Go. Band faves Clark and Nathan Fake produce inimitable reworkings as does noted French producer Rone. While American producer Machine Drum turns Atomised into dance floor friendly ‘belter’ which is also the first single. Finally, the band have not forgotten their hometown - Manchester is well represented, with remixes from elder statesman and dance music legend Graham Massey (808 state) and new discovery Shunya, whose enigmatic reworking of To The Nth almost steals the record.

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, Dlo3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. For Fans of New Mastersounds, Soulive, Jimmy Smith, Khruangbin.

Four Flies Records is proud to present the first reissue of Piero Umiliani’s Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro’s discography, is now regarded by collectors and experts as the gold standard in Italian library music. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike. His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe.

Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.

'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.

Robert Glasper is a premiere example of musical aptitude and a proven champion of Black music - boasting nine Grammy nominations and four wins for Best R&B Album, Best R&B Song, Best Traditional R&B Performance, and Best Compilation Soundtrack for Visual Media, and an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins. The 43-year old Houston native has a rich history contributing his artistry across both music and film, all the while carrying a consistent cultural message. In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.



"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone



“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)



Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.

For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)

Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.

It is at once beautiful, powerful and innovative.

Idrissa Soumaoro, L’Eclipse De L’I.J.A.’s sought-after album ‘Le Tioko-Tioko’ was originally released in the German Democratic Republic (gdr) in 1978 and has been a long-time favourite at Mr Bongo. Two tracks from the album were featured on our 2017 compilation ‘The Original Sound Of Mali’ (mrblp135), and we subsequently released the track ‘Nissodia’ on its own 12” (mrb12053) in 2020, complete with a blistering dancefloor re-edit by Mike D of The Beastie Boys.

‘Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany. The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state-owned label Eterna with only a few boxes of records being shipped back to Bamako.

A true masterpiece, this legendary LP offers some devastating songs such as ‘Djama’ (society), ‘Nissodia’ (joy of optimism), and ‘Fama Allah’ (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it will reach the wider audience it deserved over 45 years ago.

Many thanks to Florent Mazzoleni for contributing sections of these notes.

New 50-minute opus from Gothenburg Sound Workshop. Imagine a handcuffed Terry Riley driving a ice cream truck down in the Göta Älv. The second disc compiles both Förlag För Fri Musik albums (released in small vinyl editions in 2020 and 2021 respectively). Together the three albums creates a massive trilogy of stripped down, melancholic and introspective synth minimalism. Six-panel digipack, edition of 500 copies. Discreet Music Cd04.

In 2020, Taku signed to Ropeadope under the Modern Icon Recordings imprint to showcase his return to jazz. 2021 will see the release of Taku’s live album “Blu York". Taku Hirano is one of the most in-demand percussionists of his generation — a musical chameleon onstage and in-studio, whether behind iconic artists or fronting his own projects. He has worked with everyone from Stevie Nicks to Stevie Wonder, Dr. Dre to Dr. John, and referred to by rock legend Mick Fleetwood - founder and drummer for Fleetwood Mac - as his “Secret Weapon” and “not only a master percussionist, but an incredible musician.” Tracklisting: Sho¯myo¯ Hang Up Your Hang Ups Prelude Come And Get It Crawling King Snake Butterfly Bruce's Jawn Blu York

Some things take time to happen, some things perhaps take a bit longer than they should but, finally, we are delighted to present an issue of the iconic, and sought-after, Brazilian album 'Alucinolândia' by Zito Righi e Seu Conjunto from 1969.

The trippy, surrealist 60s cover design with hands holding eyeballs is somewhat confusing. Rather than the stoner acid rock record that the art may suggest, 'Alucinolândia' is actually a quintessential 60s gem, mixing samba, MPB, bossa nova, quirky organ-led mod-jazz groovers and easy-listening crooners with a relaxed cool swagger.

Zito Righi aka Isidoro Righi, the Brazilian saxophonist, instrumentalist, conductor and composer brought together an illustrious cast for this masterpiece, including the much-loved vocalist Sônia Santos. Sônia delivers a masterclass on the album's opener, and maybe its crown-jewel 'Poema Ritmico Do Malandro’. The song is fierce and driving with an enticing funk intro that bursts into a Samba / Batucada workout. A real monster that works magic on the dancefloor. Sônia would later re-visit this track in 1971 on a recording for Copacabana Records, which Mr Bongo released as part of the Brazil45 series. The Brazilian songwriter Roberval penned three tracks on the record, including another highlight and the far too short 'Birimbau'; a catchy Brazilian jazzy-samba dancer at its finest. Other musicians include the drummer Fernando who also recorded with the greats Dila & Guilherme Coutinho.

The fact the record was released in 1969 meant it was probably a bit out of step with its contemporaries in comparison to the works of artists such as Os Mutantes, Gilberto Gil et al. The core of 'Alucinolândia' is that of a more optimistic early to mid-sixties party feelgood vibe rather than the angsty, psychedelia, and rebellion of the Tropicália movement. Over 50 years since its release, the work can finally be judged on its own merit; and what a beauty it is.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'.

Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.

'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.

For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.

On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.

A new album by legendary Estonian pianist Tõnu Naissoo, accompanied by his new group Tõnu Naissoo Electric Trio !

Accompanied by his synthesizers and two of the best Estonian jazz musicians, bassist Mihkel Mälgand and drummer Ahto Abner, Tõnu Naissoo began recording his album “Different Directions” in the autumn of 2019 at the legendary Linnahall studio that he had booked for that purpose several years in advance. The new tracks he composed for the album flow from jazz-rock to smooth jazz, lingering briefly on the frequency of free jazz. The popular Estonian jazz pianist Tõnu Naissoo was born in Tallinn, Estonia in 1951. His father Uno Naissoo was a renowned composer and an organizer of jazz festivals, who encouraged Tõnu to take an interest in jazz and improvisation. By the age of 15 he had already begun participating in local jazz orchestra. He performed first time with his trio and presented his jazz music compositions at the international Tallinn Jazz Festival of 1967 in Tallinn. The next year he was given an opportunity to record his own album. Since then he has dedicated himself to jazz music and recorded around 30 albums that have been released in Estonia, Japan and Russia. Most of his earliest recordings have been reissued in recent years. “Different Directions” feels like Tõnu Naissoo’s ’missing piece’ album from the 1980s. It will be a worthy addition to Tõnu Naissoo’s and Frotee’s discography.

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo. Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of “E-Soul Cultura”.

It’s best described by Luke himself, who writes: “As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura. Music from exotic tear jerkers, Afro-spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B-sides, £1 bargain-bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33bpm pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer-space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul-de-sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again.”

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene, and later Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to E soul, house, disco and techno. Luke’s much loved, long running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s Lgbtq cultural landscape.

Luke’s Friday evening show on Worldwide FM has captured imaginations and has already become a cult four hour must-listen monthly journey with fans all over the world. Today Luke remains, as ever, at the forefront of a changing scene, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

It's hard to believe we are now up to Volume 5 of our renowned Record Club series. Curating these compilations, where we share our latest musical discoveries and old favourites from the global stage, is always a labour of love. This selection is less dancefloor-driven than our previous volumes, as fewer opportunities for live events drove us to explore other paths and styles in the musical spectrum. But, whether you're DJing for a kitchen or a club, there is still a generous serving of spicy dancefloor magic. For Volume 5, we looked to a broad church - from Brazil to Cuba, Ghana, Jamaica, Japan, Mauritania, South Africa, Sweden, Trinidad and Tobago, the UK, and the US. We pulled songs from the 70s up to the present day and feature a stellar cast of artists. There’s an exclusive track from Sven Wunder which was recorded solely for this compilation. We also have a track from Admin which was released as a private press 7" at the start of 2021 and one we felt was far too good to only be available for the lucky few. You’ll also discover one of our most treasured Gyedu Blay Ambolley productions, a full-force African disco colossus! We hope you will enjoy this selection of seventeen eclectic songs as much as we do.

This gem includes the bare bone, ready to chop, high fidelity drum breaks from more than 25 classic career-spanning joints– re-recorded Live at Layman in Nashville, TN for optimum audio quality. Each track features a commentary from Daru Jones lending some insight to his collaborators’ and his creative process. It also features an introduction by the legendary Breakbeat Lou. To top it all off this set includes a 32 page booklet with bold and inspiring artwork from throughout the years.

Expedition is a collaboration between sound artist The Dead Mauriacs (aka Olivier Prieur) and collage artist Evan Crankshaw, based on their mutual interest in treating exotica as both a subject and a material. Evan Crankshaw's 2015 collage book, also entitled Expedition, is assembled and collaged by hand from a vast archive of popular exoticist printed materials, and explores recurring motifs in expedition narratives, simultaneously evoking and alienating the exoticist fantasy.

In 2018, the book was interpreted for a live performance at Festival BBMix (Boulognes-Billancourt, France) in collaboration with The Dead Mauriacs, who created a complete exotica-concrète score accompanying projected images of the book & live narration. That collaboration can be heard on this album, an armchair-travel virtual-voyage to the heart of an imagined actual elsewhere, stitched from pieces of narcotizing fabulisms, disturbing actualities, and incomprehensibilities – an interior excursion into the exotic immensity.

For the past 4 years the band has criss-crossed the Netherlands. Playing sold out shows at clubs, theaters and festivals from north to south, east to west. Capturing the heart and soul of every person there.

All the travelling also has rendered further personal development and awareness of who Michelle David & The True-tones are. We know them as a band that makes every show a soul spectacle with their unique gospel combined with soul, blues, jazz and afrobeat. Now with a new album coming up; 'Truth & Soul’ (29-04-2022) they expanded their musical horizon even more. Dreamy Indie soul with a heavy 70’s vibe mixed with Brazilian flavors and African Rhythms.

Truth & Soul also contains particularly personal duets with Lilian Vieira and Dobet Gnahoré, both well known for their extraordinary musical talent. Knowing who we are enables us to connect even more with those around us.- Michelle. 'You Can Make it' (the first single of the album) features Grammy - Winner Dobet Gnahoré. Hailing from Côte d’Ivoire Dobet Gnahoré is one of Africa’s hottest and most beloved artists.

Michelle: The lyrics are affirmations that should be on Repeat. In times such as these we need to know we CAN AND Will Make IT!

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

"I was invited to an art gallery in Los Angeles to hear a solo String Bass recital by Stefano. I arrived late and the concert was in progress, I was walking down a series of concrete halls to reach the galley chamber where the music was taking place. In the distance I could hear the sounds of french horns, trombones, strings and brass all mixing in a beautiful modal ensemble, and at the time I thought that Stefano must be playing his bass with a chamber group. I was amazed when I entered the gallery to find Stefano all alone playing his bass ... " - Terry Riley, 1997 Organum for Stefano, the third record that I Dischi di Angelica dedicates to the work of Terry Riley, represents a significant example of “coming full circle”: indeed, in 1997 AngelicA Festival organized a concert in Bologna for Terry Riley and Stefano Scodanibbio – it was their first tour together, and the beginning of a collaboration that would last for years, promoting their first album Lazy Afternoon Among the Crocodiles (aiai 008), recorded in the Shri Moonshine studio in Riley’s home between 1994 and 1995. After his magnificent piano solo at the 2000 edition, AngelicA invited Riley back in 2013 to dedicate a special tribute-portrait to him, presenting his music in a series of concerts held in three different cities (Bologna, Modena, and Lugo), with different line-ups: The 3 Generations Trio (with Tracy Silverman and Gyan Riley, documented on the record IDA 034); the Arte saxophone quartet from Switzerland; and indeed a concert, commissioned as a world premiere, dedicated to Stefano Scodanibbio who had passed away the year before, in January 2012. The venue selected for the concert was the Basilica of Santa Maria dei Servi, hence Riley decided to use its historic Tamburini opus 544 pipe organ for the concert paying homage to the memory of Stefano. The organ was built in 1968 based on a design by Luigi Ferdinando Tagliavini, with a total of approximately 5000 pipes divided into 60 registers – incidentally, this is the same instrument used four years later in 2017 by Francesco Filidei in his duet with Roscoe Mitchell, documented on the record Splatter (ida 040), and in 2019 by Hermann Nitsch on the record Orgelkonzert (ida 045). As Riley himself explains in the liner notes: “I arrived in Bologna with no idea of what I would play, only thinking that I would make this concert a reflection on our deep association, friendship, and music adventures together. I was given a few days prior to the concert to rehearse and compose ideas on the ancient organ. These were magical times for me to also imbibe the resonances of the history of the Basilica and its organ as I composed. Stefano and I had a long history of touring and playing concerts together and one of the features of our concerts was always an arrangement of a vocal raga for bass, voice and tamboura. Stefano, although not trained in Indian Classical music, had an uncanny ear for the right choices in pitch and rhythm to accompany my traditional vocal renditions. Two of Stefano’s favourite ragas were Malkauns and Bageshri, late night ragas with deep feelings ideally suited to the profound sounds emanating from his string bass. The concert was completely improvised, introducing the melodies of ragas Malkauns and Bageshri, both vocally and in the harmonized organ passages of an intuitively structured form. The last section is an improvisation upon the passages of my composition Simply M..., a piece I frequently played for Stefano”. The result was a very precious concert – the only official recording of Riley on the pipe organ – which ranges from minimalism to Indian music, grandiose Bachian architectural constructions, even progressive echoes – in a kaleidoscopic flow of ideas which, both spontaneously and with a great clarity of intention, travels through topical moments and reminiscences of the respective musical identities and experiences shared by the two musicians. Organum for Stefano is release n. 50 by the label i dischi di angelica, which celebrates its 30 years of activity in 2022

Watch The Sun is the next studio album from the acclaimed musician, PJ Morton. Following a prolific and remarkable creative run that saw 5 consecutive years of Grammy Nominations and 6 LPs since 2017, Watch The Sun aims to take a step back from it all. Looking to escape from outside noises and influences, PJ Morton chose to record in the secluded and storied Studio In The Country, where Stevie Wonder worked on 1979’s Journey Through The Secret Life of Plants, and artists like Allen Toussaint, Betty Davis and Dr. John have all recorded. Featuring the previously released “Please Don’t Walk Away,” & “My Peace,” the album is set to be his biggest and most anticipated release to date, delivering one of the most expansive sonic palettes he has ever developed as producer. Watch The Sun includes appearances from JoJo, Mr. Talkbox, Chronixx, Stevie Wonder, Nas, Wale, Jill Scott, Alex Isley, El Debarge, Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel 'MusiqCity' Walls.

Swedish multi-instrumentalist and composer Gustaf Ljunggren has teamed up with Icelandic Bass Guitar player and composer Skúli Sverrisson (Laurie Anderson, Ryuichi Sakamoto, Bill Frisell, Blonde Redhead ) to create an album that wishes to offer the listener private musical spaces to dwell in for a while. Ljunggren’s musical language is clear, gentle, and melodic, and the pieces chosen for this album all share a sense of weaving past and future together into the present. Gustaf Ljunggren reflects about the music on Floreana: “I listened inwards, and it sounded like this. Melodies came to the surface, and I chose to say ‘yes’ to them, embrace them, carry them forward. My musical partner on this album, Skúli Sverrisson, has been with me throughout this process; embracing the music with both profound dedication and artistic boldness.” The music on the album grants the listener access to something that’s forgotten or undiscovered. There’s a sensuousness throughout the work; musical spaces that reveal possibilities to listen inwards, aided by repetition in melodies and patterns. The music doesn’t seek climaxes as much as it seeks states of presence and attention. The live concerts with Gustaf Ljunggren and Skúli Sverrisson will explore the spaces the music on Floreana invites to. Two of northern Europe’s most distinctive instrumentalists will interpret Ljunggren’s compositions with a strong attention to the environment where the music is performed. The audience can expect the performers to display a deep commitment to the presence of the music as it unfolds.

15 self-portraits by Sebi Tramontana. The shortest is about 30 seconds and the longest is almost nine minutes. In these fifteen pieces the trombone is explored in multiple directions. There are techniques dear to the world of European improvised music as well as echoes of Duke Ellington's trombone masters, Italian accounting as well as the pure sound of the air. Tramontana is a northern wind but Tramontana comes from the south, they have met and through a tube they take us on a curious, light, surprising journey. A journey that directly refers to the brass bible "Song and wind" by Arnold Jacobs, tubist of the Chicago Symphony Orchestra.

Songs and Poems is a project born from the necessity to explore, in a chamber dimension, the possibilities of the sound of the word. The quartet joins Blend 3 - the trio of Andrea Grossi with Manuel Caliumi and Michele Bonifati - to the voice of Beatrice Arrigoni and finds its personal dimension within a sound world generated by the fusion of 20th century European traditions, starting from improvised music and European jazz, passing through contemporary music until arriving in echoes of progressive rock, noise, and ambient. An aspect on which the research of this group is based is the relationship between the human voice and instruments, in particular the instrumental use of the voice and the translation of vocal inflections and possibilities onto instruments. The compositional architecture of the poetic text can also suggest that of the musical writing, avoiding a constant coloristic evocation, in favor of a deep research, based on structural affinities: abstract episodes with a visionary flavor are mixed with more punctual and scientific interventions. To each Poet, Emily Dickinson and E. E. Cummings, in this case, corresponds a different compositional style aimed at emphasizing and praising the uniqueness of each “voice”.

f one was to interpret the whole output of Eabs in general, an inquisitive listener would notice that each subsequent album stems from the previous one. The overtones are similar and they can be treated as variations on the same theme. The only thing that changes is the background of the story. It is all about life and death, the beginning and the end of the world, and the role of human beings entangled in all this existentially. Following the futurism lessons from Sun Ra, the band travels to the year 2061, continuing their mission in space in the company of a living legend, Jan Ptaszyn Wróblewski.

"all These Worlds ARE Yours – Except Europa. Attempt NO Landing THERE." – this was the ominous message from the mythical Monolith of Arthur C. Clarke's 2001: A Space Odyssey. The quote became a metaphor for the situation the Eabs crew found themselves in when the pandemic hit. It was not only Europe that became inaccessible, the whole world shut down. A reflection emerged that only empathy and cooperation could save humanity. We will not be able to face the greater threat that may come from the outside together by fighting wars among ourselves on Earth. A similar analogy can be seen in Arthur C. Clarke's book series, which was made even more famous by Stanley Kubrick with his iconic screen adaptation, 2001: A Space Odyssey. Released in 1986, the third part of the series has served as an inspiration for the fourth Eabs album titled 2061, a soundtrack to the film that hasn't been made yet.

Collaborative work has always been the domain of Eabs, which is even more audible with their new album as most of the instrumentalists brought their own compositions to the recording session. As a result, the album oscillates in orbits of many genres such as jazz, electronica and hip hop, in such mutations as Miami bass, trap and drill. It might come as a surprise that the role of the spiritual guide and mentor here is played by Jan Ptaszyn Wróblewski who has taken part in all the quests in the history of Polish jazz, just like Dr Heywood Floyd traversing the galaxy aboard the Universe spacecraft.

The year 1986 is symbolic for Eabs. Poland was then visited by Sun Ra with his Arkestra carrying a prophecy: "We are living in End Time, all right, but in the last daze. It’s after the end of the world. Don’t you know that yet?" – these words of the Saturnian alien were hovering over the group's previous project. That year Halley's Comet flew close to Earth, inspiring Arthur C. Clarke to write the third installment of A Space Odyssey. The next time we will be able to see this celestial body is not until the eponymous year 2061. In his book, the author envisioned the current decade as full of crises, scandals and disasters. Having been in space for years, Dr Heywood Floyd would observe cities in flames, a nuclear war outbreak, and all the other horrific events from his monitor window. With the nightmare unfolding on Earth, the cultural and linguistic differences that had arisen over the millennia began to disappear, and the appearance of a new sun named Lucifer only accelerated the process. The superpowers, destroyed by warfare against each other, achieved reconciliation and reunification, making the outbreak of further wars of this kind impossible. At last, the existing peace machinery began to choose life over death. The disintegration of the enormous parasitic military business resulted in the acceleration of world economic development. The moral equivalent of war has led to the undoing of centuries of damage and neglect caused by it. This latest Eabs album stands for the time when Halley's Comet will again fly by very close to Earth. We should hope that in the light of recent events, the utopian vision of the author of A Space Odyssey will come true and peace will come to our planet. Fortunately, there will be no need to wait another 40 years for the album.

Wrwtfww Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum. The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera. Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on Wrwtfww Records.

Wrwtfww Records and MEG Museum (Geneva) are ecstatic to announce a new full length album by celebrated Japanese percussionist Midori Takada (Through The Looking Glass), in collaboration with Buddhist monks belonging to the Samgha group of the Shingon school of Koya-san, led by Reverend Syuukoh Ikawa. You Who Are Leaving To Nirvana is available on half speed mastered vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded at The Premises Studio (London) and in Tokyo in 2019,You Who are Leaving to Nirvana is a majestic work combining a suite of six Buddhist liturgical chants and a musical creation by Midori Takada. The Buddhist chants come from three types of repertoires: shomyo ("Teisan", "Unga-Bai", "Sange", "Taiyo"), but also goeika ("Kannon-Daiji") and mantra ("Hannya-Singyo").

After supervising the recording of the Buddhist chants, Midori Takada added her own compositions, with subtle layers of percussion and the melodies of her beloved marimba, giving full life to the sacred texts.

Reverend Syuukoh Ikawa explains: "Shomyo is a form of declamation of sacred esoteric texts, inherited over many generations. The power of words goes far beyond their mere pronunciation. I think there is something that words alone cannot really convey. If I recite prayers in a musical way, the feeling transmitted will be even stronger than if I say it normally, in everyday language. I think that the musicality of a work carries a hidden power that cannot be expressed in words alone. The setting of the music has an additional power for you and for those around you who listen to it. The words of a song are not just words set to music. They carry an additional hidden power that cannot be expressed in any other way. Listening to Midori Takada's musical performance, the words truly seem to come alive."

Original recordings of the Buddhist chants are held in the International Archives of Folk Music (iafm) at the MEG Museum in Geneva. The album sleeve features an artwork by famed Japanese sculptor Katsura Funakoshi selected by Midori Takada. You Who Are Leaving To Nirvana is released in conjunction with Midori Takada's Cutting Branches For A Temporary Shelter, also available on LP and CD on Wrwtfww Records.

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

Favorite Recordings and Charles Maurice proudly present a brand new compilation series: Fusion Global Sounds. 9 rare and hidden tracks produced between 1970 and 1983 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series. This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life. "Buster" is taken from the first and only album of the Swedish band, Sundance. The band from Gothenburg was formed around US trumpet player Stephen Frankevich (notably playing with Mahavishnu Orchestra) after he moved to Sweden. Cosmic, with razor-sharp rhythms, it naturally brings you to the second title, "Hello Mr. Ancuvis" by Renato Anselmi. One of the key players of the Swiss Jazz scene during the sixties and the seventies, Renato also had the chance to play with Harvey Mason or Alphonso Johnson. Funky, jazzy but still a bit breezy, here again sweet vocals nicely blend with uptempo Rhodes part. Also included is another title from Renato Anselmi, "Quiet Fire", a mellow Rhodes-driven ballad with funky accents, wide strings and guitar arrangements. "Tropical Island" by Zane Cronje, a South-African composer and arranger, was initially a track from a music library catalogue: dreamy, soaked in thorough synthesizers, we're only attached to the earth by the Guiro groove. You'll also hear this cosmic vibe in "Astral Dance" by French-American drummer and Jazz musician/composer Daniel Bechet, taken from Songs To My Father LP, dedicated to his father the famous Sax/Clarinet player Sydney Bechet. In this 4 minutes dope jam, keys, guitar and percussion will elevate your mind to another level of consciousness: deep! The 1860 Band was hailing from Wellington, New Zealand, playing mostly in bars, cafes and pubs - their name is taken from a tavern where they had an extended afternoon residency keeping the clients entertained. Their sole LP, now rare and sought-after, was a nice mix of Jazz-Funk and Disco grooves. Their amazing and groovy cover of "Keep That Same Old Feeling" by The Crusaders, brings the best of their playing. Otroshakers was formed around Hugo and Osvaldo Fattoruso, as a tribute project to their former band Los Shakers, some sort of copycat band of The Beatles with great success in Latin America. Listening to "Siempre Tu", you can almost hear The Beatles' psychedelic vocal of Sgt. Pepper's Lonely Hearts Club Band. Later joining Ringo Thielmann in the US, they formed the band OPA together, after having recorded for Airto's seminal album Fingers. Blending Jazz, South-American musical elements and Funk, their fusion quickly gained the respect of the NY musical scene. "Despertar" by Spanish drummer, singer and actor Pedro Ruy-Blas, is taken from Luna Llena, his great first Jazz-Funk album. The track is a funky piece with wah-wah expressive Rhodes, ending with a beautiful flute solo. "Prologue" by Dutch-French pianist Majoie Hajary (sometimes called the "Hindu pianist"), can be found on La Passion Selon Judas, a very unique religious album blending her own style with Psych, Funk and Jazz elements. Surely we could continue detailing stories of all these gems, but we guess that the best way to learn more about them, is to listen to Fusion Global Sounds, fully remastered from originals and whether your preference is for vinyl or CD formats.

"In a dramatic departure from their previous output, the UK collective taps into the spirituality of choral music and contemporary classical in an uplifting, celebratory, utterly gorgeous album." - Pitchfork

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels Ugmaa, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Sounding simultaneously from the past, the present, and the future, the debut album 'mlde' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" Mlde seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'mlde' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of Mlde's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.