Latin | Brazil 355 Items

Double bassist and composer Cachao Lopez was one of the greatest personalities in the history of Cuban music. A true innovator who already in the 40's pioneered a new exciting form of dance music subsequently worldwide known as mambo. "Cuban Music in Jam Session'' stands as one of his classic albums from the late 50's. A great example of Cachao's innovative jam sessions called "descargas" where various legendary musicians such as tenor sax player Emilio Penalver and trumpeters Armando "Chocolate" Armenteros and Alejandro "Negro" Vivar, improvise over highly infectious grooves and rhythms laid down by Cachao himself on bass and a bunch of super tight percussionists. A great statement from the latin music golden era!

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS Brazões and Assim Assado, he let us an amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

Although perhaps not a household name like Sergio Mendes, Marcos Valle or Flora Purim, Bororó is considered to be one of the most important and talented Brazilian musicians of his time. Taking his moniker from the indigenous people of his country, who live in the state of Mato Grosso, Bororó steadily built his career for well over a quarter of a century, along the way performing live and in the studio with such legends as Gal Costa, Milton Nascimento and Caetano Veloso.

To hear the quintessential synthesized sounds of "El Hombre Orquesta" aka Ricardo Suntaxi is analogous to studying the detailed schematics of your favorite electronic contraption. For the initiated, it's a peek under the proverbial hood, an invitation into the engine of a sound and color that has played a part in powering and defining a treasure trove of modern Latin American sound-system music.

180-Gram Limited Edition. Brazilian poet, lyricist, essayist and playwright, Vinicius de Moraes (1913- 1980) became a seminal figure in modern Brazilian music and literature. Along with his longtime collaborator, composer, arranger, singer, and pianist/guitarist Antonio Carlos Jobim (1927-1994), known in Brazil as Tom Jobim, he composed hundreds of songs which have become true classics and have transcended the bossa nova, as they continue to be played and recorded by countless singers and instrumentalists within Brazil and throughout the world. This LP set compiles some of the earliest recordings by Vinicius.

After the anniversary edition about the illustrious Ngoma label, Planet Ilunga moves forward in time with its upcoming release. With the new series 'Les éditeurs congolais' Planet Ilunga aims to honour and highlight the phonographic and entrepreneurial work of the first Congolese record label bosses. We kick off with a compilation of one of the most significant labels, Les Editions Populaires, founded by Franco Luambo Makiadi.

'Indépendance Cha Cha' was an historic song, not only because it immortalized Congo’s independence in its lyrics, but also because it was the first single published by a Congolese-owned record label. Joseph Kabasele’s label Surboum African Jazz indeed paved the way for several Congolese musicians to become record publishers. It resulted in the 1960s in a plethora of newly found Kinshasa-based record labels, run by the biggest musicians of the time.

Les Editions Populaires was founded by Franco in 1968 after he first co-founded with Vicky Longomba the labels Epanza Makita (+/- 117 singles) and Boma Bango (+/- 50 singles) and after starting his first short-lived label Likembe (+/- 5 singles). It ran until 1982 and was mostly dedicated to the output of OK Jazz (later TPOK Jazz).

This compilation brings together an original selection of 16 tracks from the first three years of Les Editions Populaires. They are a showcase of the sound Franco had envisioned for his band. The focus was less on cha-cha-cha and Spanish lyrics, but on lingering rumba and bolero ballads in Lingala, tradition-rooted songs in Kikongo, Kimongo and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira and not to forget solid tributes to American funk, which were showing that the OK Jazz musicians had an open-minded view on music and were capable of excelling in many genres.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - Joseph “Candido” RodrÌguez - Candido was mentored by Tito Punete, and his debut features a fantastic mix of fiery Salsa, Latin Jazz and Sweet Latin Soul. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Two years after the release of his first self-titled album, DJ producer Massimo Napoli aka Galathea presents the new 'Sacred Love', in which he once again avails himself of the collaboration of his friend producer and bass player Salvo Dub, as well as a combo of respected musicians: singer Kadi Koulibaly - originally from Burkina Faso - already featured on the first album, Giulia La Rosa, author of the lyrics and performer of the title track, pianist Mario Pappalardo, percussionist Sergio Spitaleri and drummer Luciano Cantone. 'Sacred Love' is definitely a more mature, intense and profound journey than the previous album of the same name, which enhances the magical dreamlike and spiritual atmospheres of a certain African culture. The album guides the listener along a path of multi-ethnic contaminations: "Divinité", "Ouaga" and "Koloko", well interpreted by Kadi, touch on the sacredness and mysticism of the African continent and blend well with the Spiritual Jazz sounds that have evolved in the West. "Divinité", through the spoken word of French poet Diego Hernandez, tackles the themes of faith, life and the relationship with one's 'self', with references to French chanson productions, in which Kadi's spiritual song, at times 'Saharan', intersects and expands into cosmic space. The title track, the first single from the album, also released on 7" (45rpm) in two versions, is an Afro-American gospel with a typically afrobeat rhythm, vaguely reminiscent of Nina Simone's 'See-Line Woman'. North Africa is represented by "Equator", while we climb further north into the middle of the Mediterranean Sea with "Medican Blues", to land in Stromboli with the Deep Jazz of "Ginostra", whose title recalls the village of the marvellous island in the Aeolian archipelago. Then we have the Cuban track "Caminito", a sort of Cha-Cha with a romantic piano melody (à la Chucho Valdez) well performed by maestro Mario Pappalardo; and then again "Eos", strongly Balearic with a Brazilian mood; "Impression", a dreamy journey of impact; "Sirens", already present on the first album and here reworked in a new Spiritual-Ambient version produced by Agosta. "Sacred Love" is thus an original and musically borderless album, which expands a certain African sacred culture and naturally blends Afrobeat, Jazz and Blues atmospheres with the Balearic sounds of Mediterranean culture. Enjoy listening!

Mumbia Y SUS Candelosos is a Tokyo-based cumbia band led by percussionist Mutsumi Kobayashi, who has played with Minyo Crusaders and other groups. Following their debut album "Hokkori Time/Cumbia Ducha", which marked the beginning of a new chapter in the Japanese tropical music scene, part 2 of the Tokyo Cumbia Trilogy is now available on 10"/45rpm! The center label artwork is a gorgeous collaboration between Mutsumi Kobayashi himself for the illustrations, Mateo Rivano for the logo, and Katsumi Tanaka of the Minyo Crusaders for the total design.

Mario Galeano's flagship project based in Bogota, the capital of Colombia, and well known for his work with the Minyo Crusaders, has released its first new album in 10 years! Ondatropica, Minyo Cumbiero... Frente Cumbielo is the flagship project of Mario Galeano, who has been working on a series of high-profile projects from Bogota, the capital of Colombia, with the keyword "cumbia". After 10 years since "frente Cumbiero Meets MAD Professor", the new album is finally available in physical format! Recorded by the same members as their legendary first Japan gig in 2018. Nine instrumental numbers that combine cumbia, polo, gaita, jazz, electronica, and dub, and the tight, heavy quartet sound that has been developed over two and a half years of touring around the world! The band's guest is the legendary Conjunto Miramar, who has been active in Bogota since the 60's and has left many cumbia classics to the Discos Fuentes. The LP also includes an additional song, "Motines del Tigre", a collaboration with Argentine cumbia band LA Delio Valdez, which was not included on the digital version.

A new world of accordion music pioneered by the Meridian Brothers, who lead the tropical music scene with their unique approach to Colombian musical heritage and twisted pop sensibility, andCONJUNTO Media Luna, who revive the charm of authentic cumbia sabanera in the present! Despite the simplicity and minimalism of the live instrumentation, the collaboration "paz EN LA Tierra", released in 2021, has no hint of the conventional acoustic music mood, but is instead a collection of songs with the rhythmic intensity of house and techno. Two of the tracks have been further edited, mixed, and mastered to be released as exclusive 7" versions.

Debut 7" of a 7-piece Caribbean + Afrobeat + Dub combo led by Frente Cumbiero saxophonist/clarinetist Marco Fajardo! This is a masterpiece that shows how Colombian dance music has cultivated its mellow sound by greedily incorporating Caribbean and African music through the culture of the Pico Sound System, which is popular in the Caribbean Gulf Coast region, especially in the Caribbean city of Barranquilla. The artwork was drawn by Inti-Huayra Guevara Rios from Bogota.

The joyful and melancholy songs of the soul that have been sung on Tumaco, a small island in the Pacific Gulf of Colombia that has been exposed to violence, abandoned, and isolated, are now echoing across the world's dance floors. The world's first recording of Alba Maria Valencia and her group Cantoras DE Yerbabuena, the bearers of a little-known local tradition, who were born and raised on the small island of Tumaco, also known as "the pearl of the Pacific," and have been singing the songs they learned from their parents for over 65 years! The artwork for the sleeve is by Yukie Monnai. The semicircular arch in the background, which was a symbol of Tumaco, collapsed earlier this year and is no longer there. Alba Maria Valencia and the members of Cantoras de Yerba Buena are very happy to have this arch painted on the sleeve.

Tito Puente's classic 'Guayaba' has been recorded by so many artists over the years and these two covers by Sonora de Lucho Macedo and La Logia Sarabanda are undoubtedly among the best ones. Here you are two proper dance floor shakers for the tropical heads out there, recorded under the influence of the early 70s Latino rock sounds, reissued on a 45 for the first time. Our series of tropical 45s aimed to shake up the dance floors presents two incredible versions of one of the best songs ever composed by maestro Tito Puente: Guayaba. In the late 1950s, rock'n'roll shook the foundations of music in Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo followed this trend, even many years later. In 1972 his version of 'Guayaba' was published, combining elements of the emerging Chicano rock sound, popularized internationally by bands like Santana or Malo, blended with a Latin flavor loaded with elements of mambo, son montuno, boogaloo... Timbales and distorted guitars shaking hands in this very dance floor friendly version. La Logia Sarabanda would arrive all the way from Rio de la Plata but -despite their origin- they'd release their records exclusively in Peru and Mexico. Their only single opened with another very interesting version of 'Guayaba' that highlights the sounds of fierce and psychedelic guitars while keeping the Latin essence of the original song.

Agua Larga offre une immersion dans la culture Afro-Équatorienne de la province d'Esmeraldas. Les auteurs ont captés comment la musique s’inscrit dans la vie quotidienne des habitant.e.s et dialogue avec les autres éléments sonores qui l’entourent. La matière musicale est ainsi accompagnée de récits, de poèmes et de scènes du quotidien captés sur le vif, loin des studios aseptisés, dans l’espace public, sur la berge des fleuves ou en bord de mer.

La thématique de l’eau (“agua” en Espagnol), sous toutes ses formes, est le fil conducteur. La mer a amené les esclaves vers ce nouveau continent mais c’est elle qui fournit aujourd’hui en poissons les pêcheurs. Les fleuves et rivières, empruntés par les bateaux et pirogues, permettent de connecter les villages de cette forêt tropicale. L’eau est aussi devenue une denrée rare en ville, où son accès est encore difficile pour une partie de la population. Les scènes prises sur le vif marqueront cette omniprésence de l’eau, comme lieu de vie et ressource quotidienne nécessaire."

(Classicos EM Vinyl, LP 180gr, Simple cover) Recorded live at "Maracanãzinho" (Rio de Janeiro) on the 23rd of February, 1974. Liner notes by Gerson Conrad.

"Vente pa'cá" started with an afro-funk groove made by Jah Sazzah who has produced Dub, Reggae & a recent Deep Global Electronic album for Turntables on the Hudson called "Horizons." When asked for a possible vocalist, Nickodemus made some edits & mixes and sent it to Colombian vocalist Jimena Angel who quickly put her signature vocal style in as a catchy chorus saying "venue pa'cá" meaning "come here." Jimena has been on recent Captain Planet album with a hit song "Pambelé" as well as releasing many Latin/ Electronic / Alternative singles the past few years. The song's afro disco funk feel then got a heavy Caribbean style four to the floor Poirier remix with an entirely different melody for the dance-floors. Poirier is best know for his remixes & modern Afro-Caribbean productions & has a strong selling album on Wonderwheel Recordings called "Soft Power."

From the rare and obscure to the unknown, producer Tee Cardaci mines eleven genre-spanning gems from the waning days of Brazil's military dictatorship, recorded by a new emerging class of artists operating outside of the major label system. Sonhos Secretos, or Secret Dreams in English, alludes to the quiet aspirations of those that made these independent and privately released seven-inches as well as to the fact that many of these records have long remained essentially a secret. It's also, to some extent, a reference to a certain dream-like quality that permeates this collection. These songs contain elements of jazz, soul, folk, prog, baroque rock and shimmering pop (housed under the blanket term Música Popular Brasileira, or Brazilian Popular Music). This unique compilation, presented by reissue specialists Org Music and online audio journal Aquarium Drunkard, includes a fold-out insert with artist interviews and additional liner notes by Brazilian music scholar Allen Thayer.

Jesús Gómez y su Grupo has been a vinyl jewel impossible to find for decades, a musical treasure ahead of its time with a prodigious voice. Jesús Gómez had not even reached the age of majority when he embarked on the adventure of recording and producing his own album, bringing together songs from the main Afro-Latin rhythms of the moment to which he contributed all his fantastic explosion of creativity. Not long ago, he had earned the epithet of "The Child Prodigy of the Song" which led him to explore and gain experiences in the paths of music since his youth, a passion, but also a craft, that his mother had instilled in him since his childhood and that he shared with other members of his family. Different rhythms, styles, and learnings hardened Jesús so that at only 17 years old he could deliver such a fantastic work, a clairvoyant sound of pure “Salsa” even before it became fashionable to call this type of music that way.

Mythical visits by artists and orchestras from the Caribbean were a catalyst for the appearance of national Venezuelan representatives with a higher professional level who had been working on Afro-Caribbean and Venezuelan rhythms since the 1930s, leaving an indelible mark such as Sonora Caracas, among others. Almost 40 years later, in 1967, as a result of this tradition, a modern and fierce work like this album would be possible, a direct, energetic, rhythmic declaration full of flavors of Guaguancó, Bolero, Descarga, Rumba, and even Guaracha. This base is the hyper fertile ground for the even more fantastic voice of Jesús, with high tones and extreme clarity, perfectly tuned and colorful, a characteristic that will accompany him throughout his life, a blessing, one could say.

Typical of the restless spirit that can be glimpsed on this album, he intertwines rhythms within rhythms, as happens in the singular and mythical “Loca ilusión” that goes from Bolero to Salsa Brava, a turn that leaves a reasonably psychedelic feeling. Let's not forget that we are in a period prior to what would be the canonical Salsa, even since then, this young Venezuelan, at the sound level, was already fluttering over the molasses of the trombones. A gem like “False Love” could get any dance floor on fire right now, a hot guaguancó that should be part of the vault of any Latin music DJ along with the greatest classics like “Tirándote Flores”.

Jesús Gómez is not one to fall short, neither in style nor in rhythm, a true artist from the beginning he also includes Surf and Bossanova pieces, taking his work to other territories without fear. Jesús Gómez y su Grupo was perhaps the definitive step that opened all the doors of a brilliant career for this young man, he would go on to collaborate almost from that moment with countless nationally and internationally renowned orchestras and artists, including Sonora Caracas itself, already historic and still standing at the moment.

If this album reaches your hands, you will have a treasure in it, since it is among the most sought-after in the history of Caribbean music, it has taken El Palmas Music more than 1 year of work to be able to reissue this jewel so that it can finally be accessible to the world while possible, a key piece in the history of salsa in Venezuela and a jewel for the world available maybe for a limited time.

To launch Mr Bongo’s new Cuban Classic Series, we are thrilled to present this sought-after, psychedelic-funk masterpiece. A fusion of traditional Latin and Afro-Cuban rhythms meets disco, jazz, and funk, with hints of 70s soundtrack productions, this much-loved cult album featuring nine predominantly instrumental tracks is a real treasure that deserves a much wider appreciation. One look at the trippy artwork and you know it is going to be special.

Originally released in 1977 on Areito Records, a sub-label of the state-owned label Egrem, it has become one of the rarest (even in Cuba) and most in-demand albums to come from the label. It is the sole album from Grupo Los Yoyi and was composed, orchestrated, and produced by the mysterious, Jorge Soler Leó.

After Castro ring-fenced Cuba with an embargo on, among other things, Western music, the ‘Yoyi’ album had a sound more left of centre than what was normally allowed to be recorded there at the time. It subtly and covertly flirts with disco, jazz-funk, and electronic sounds coming from the US and Europe. It is probably best known for the space funk, bubbly club cut 'Paco La Calle’. A track that was edited in 2008 by the fantastic DJ / producer, Nick the Record, and one that is guaranteed to set a discerning dancefloor alight. However, ‘Yoyi’ is far from a one-track album. Other highlights include, 'Banana’, with its call and response trombone and horn section, squelchy keys, pulsating breaks and percussion, and a loose, floating vocal arrangement. 'Tu No Me Puedes Conquistar' is a beautiful, bouncing plodder with a variety of instruments interchanging as the track progresses. 'Ruta 30' takes things in a straighter Latin direction, which we are accustomed to from Cuba at that time, yet it is still full of personality, treats and vigour. Take our word for it, this album is strong throughout.

This is one of our favourites and most beloved albums to come out of Cuba and is the perfect flagship for our Cuban Classics Series. Look out for plenty more to come real soon.

Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.

Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.

For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'.

Renowned Italian spiritual jazz lover, DJ, producer, guitarist, and bandleader Nicola Conte proudly presents his new album Umoja via London based label Far Out Recordings.

A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte’s relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten 60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album: a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser known Brazilian gems.

The music of Umoja draws on the deep-dug 70's independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte’s collection. But he equally recognises his debt to many of the decade’s more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric.

A joyous exultation across ten tracks, Umoja taps into the abundant well of knowledge Conte has amassed over his career as connoisseuring compiler and archivist of deep jazz, latin, afrofuturist, bossa-nova and soul music from around the world. Expressing unity, oneness and harmony in Swahili, Umoja coalesces universal feelings through the multifaceted global music Conte has spent his life studying and researching.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte’s relationship with Far Out began over a shared love of hard-edged bossa-nova and swinging samba-jazz. Between 2009-2013 Nicola Conte compiled five volumes of forgotten 60s Brazilian music for his Viagem series. He then released his critically acclaimed Natural album: a collaboration with vocalist Steffania Dippiero, featuring jazz standards alongside covers of lesser known Brazilian gems.

The music of Umoja draws on the deep-dug 70's independent spiritual and free jazz sounds, private-press soul records, and African and Afro Caribbean rhythms in Conte’s collection. But he equally recognises his debt to many of the decade’s more celebrated musical icons, such as North American cosmic jazz masters Lonnie Liston Smith and Gary Bartz, and Afrobeat originators Fela Kuti and Tony Allen.

Since founding the Bari-based bohemian cultural movement and club night Fez at the dawn of the nineties, Conte has proven to be a pillar of the contemporary, international soul-jazz scene. Composed alongside his long time friend, guitarist Alberto Parmegiani, Conte brings together a dazzling host of guests from around the world, including award winning British vocalist Zara Mcfarlane, acclaimed Finnish saxophonist Timo Lassy, french vibes player Simon Mullier, US vocalist Myles Sanko, rising South African drummer Fernando Damon, former Roy Hargrove bassist Ameen Saleem and Serbian flute sensation Milena Jancuric.

During the 1970s, Marcos Valle moved to the US, tired of living under the repressive military dictatorship in Brazil. He collaborated with musicians like Leon Ware and Chicago in Los Angeles. Upon returning to Brazil in the 1980s, he recorded “Vontade de Rever Você" where he explored all the musical influences he had received in the US, particularly Boogie, Soul, and Funk. For this recording, he collaborated with musicians such as Sivuca, Peter Cetera from Chicago, Robson Jorge, and José Roberto Bertrami from Azymuth.

Licensed by Som Livre

The summer 2023 offering from Discos Mas is a blast from the past updated in typical Los Disco Duro fashion with vocoder vocals, live cumbia percussion and synthesized everything else. Nobody will admit to actually liking the Macarena, yet, without fail, everybody does the dance and sings along to the chorus when it comes blaring out of nightclub speakers. This little 7” life preserver will certainly keep djs from drowning should they find themselves in troubled waters. The B-side is an original electro composition with reflexive yet lighthearted lyrics about dancing dancing dancing to the tiny music in the discoteca heat. Minimal electronic 909 beats and a bassline inspired by enemy Automazeon laser fire from Atari’s Berzerk perfectly balance with the vocoder vocals resulting in pure retro bliss.

Guyana folk music reinterpreted and infused with Afroroots and culture, reissued on vinyl for the first time. A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.

Reissue of one of the Ultimate Soukous banger! Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat. Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions. After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed . Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies.