Organic Grooves Vinyl 10 Inch 72 Items

Super smooth and funky 2 track EP, limited red 10 Inch. UK Duo Flying Mojito Bros have their unique sound, mixing several US styles together to make their own brand: Disco, Westcoast and Swamp/Stoner Rock become: Swamp Disco! (side b of our release is an edit for none other than the Grateful Dead!) They have a huge following and just released their debut album. The duo has their boots firmly planted in dusty 70s sunsets, their pan-USA productions take cosmic country funk and rock to modern dancefloors via NYC latin disco and baggy acid house - on a bed of hefty contemporary rhythms. Their music has turned party people loose in clubs, parties and late-night festival tents at Glastonbury, Bestival, Pikes Ibiza, Austin City Limits and beyond. In addition to residencies at The Social, Spiritland and Nobu, they've been invited to work their hoodoo on remixes of Flamingods, Raf Rundell (The 2 Bears), Black Peaches, Jouis, 77:78, Scott Hirsch, James Matthew VII, Katy J Pearson, Jeffrey Silverstein, Rudy Norman and more - releasing on prestigious independent labels such as Heavenly, Paper Recordings and Ubiquity. The Flying Mojito Bros have seen over a million streams worldwide and a mushrooming US fanbase.

Thundercat presents “drunk”- a 23-track epic journey into the often hilarious, sometimes dark mind of the Grammy-winning singer/ bassist - featuring a few of his friends joining him along the way including: Kendrick Lamar, Pharrell, Michael Mcdonald, Kenny Loggins, Wiz Khalifa, Kamasi Washington and Brainfeeder Mastermind Flying Lotus.

Taking a step back from production and additional instrumentation, the self-taught pianist
explores the instrument across six new tracks recorded at Fieldgate Studio in Cardiff,
set for release through his own label Sekito.

A limited edition SUN RA 10-inch EP cut at 45 RPM. Four tracks, two unreleased. Features artwork by Georgia Hubley (Yo La Tengo), lettering by Archer Prewitt. Mastered by Dave Cooley. A-1 "Just Friends" 7:22 (John Klenner and Sam Lewis) This live recording was only issued on a rare 1982 Saturn album entitled Just Friends. So few copies of Just Friends were pressed, that this track is almost unknown to Ra fans. This is the first reissue of this track in any format. The location and actual date of the recording are unknown. A-2 "Just Friends" 3:36 (John Klenner and Sam Lewis). This is a recording made around 1960 of Sun Ra playing organ in his Chicago apartment while softly singing the song "Just Friends." It has not been previously issued in any format. B-1 "Under the Spell of Love" 6:04 (Sun Ra © Enterplanetary Koncepts Bmi). This live recording was also issued on the rare 1982 Saturn album Just Friends. This is the first reissue of this track in any format. As with the title track on side A, the location and actual date of this performance are unknown B-2 "Cherokee" 4:12 (Ray Noble). This work was composed by Ray Noble. "Cherokee" was a 1940s big band standard, and was a big hit for Charlie Barnett. It was also recorded by Charlie Parker, Count Basie, Duke Ellington, Lionel Hampton, Bud Powell, and many others. This is the only known recording of the title by Sun Ra. There is no information about the date, location, or personnel. It sounds like a home rehearsal, and probably dates from the 1970s. It has not been previously issued in any format.

Discover the essential high tempo Singeli Sound that currently echoes throughout Dar es Salaam in Tanzania. This accompanying release to the mini-documentary on the scene from NTS, focuses on two of the central studios in the scene and their singular takes on Singeli; with Pamoja, helmed by Duke, and the inimitable DJ Sisso

Recorded in 2006 and never officially released, this EP was engineered by the legendary JON Fausty of Fania Records and includes three original salsa classics: "Madrugador," "Orgullo," and "Tu No Sabes." This limited edition 10-inch also features bonus track "Bionic Boogaloo"— another classic BIO Ritmo rework, this time featuring Oliver Nelson's theme for The Six Million Dollar Man 70's television series. The captivating cover art is by singer/ composer REI Alavarez who meshes his two favorite folk cultures together in one: the Samurai Vejigante. Full-color jacket wrapped with Japanese-style obi strip that ties the whole package together under shrinkwrap. All killer and no filler from Bio Ritmo—easily one of the hardest, heaviest leaders on the current worldwide 'salsa dura' scene!

Reissue of one of the lesser known titles of the legendary catalog of the New York label SMC (Spanish Music Center). Highly sought after among Latin music collectors, ideal for DJs specializing in Latin soul, boogaloo, salsa, Latin music, psychedelic sounds and exotic music.

It includes on the A side the theme Let’s dance The Bugalu (actually Boogaloo), featured in the New York dances of the late 60s, which demonstrates its validity; and Aprende mi Tumbao, a boogaloo-rock that begins as a guajira, Cuban rhythm perfect for intensity changes in discos and clubs. *These tracks are the ones included in our previous release of Guantanamo Boys which was instantly sold out*

And on the side B two remixes of Aprende mi Tumbao in charge of the best DJs today. The first is made by Andy Grey (resident DJ of Gladys Palmera) & Desi Calatayud (producer and sound designer); and the second, by Tiraya (selector, producer and percussionist).

The impact of Weldon Irvine’s music across a wealth of genres cannot be overstated with his jazzy piano playing and compositions regularly passed down to newer generations. Artists like Q-Tip and Mos Def are noted admirers of the jazz-funk artist, and the distinct sounds of Irvine echo across the ages in samples etched into hip-hop history. The album version of Time Capsule was originally released in 1973, and this is a brand new 10 inch EP edit aimed at DJs looking to incorporate its album tracks in their set. While the original album had social commentary, and spoken word reflections signpost the way through its otherworldly jazz, this EP contains just the music. Two versions of "Deja vu" on side A, and "Feelin' Mellow" and "Watergate --- Don't Bug Me!" on side B.

Ronnie McNeir, Spyder Turner, The Fabulous Peps, The Fantastic Four, The Tomangoes, Yvonne Vernee. After 3 year of Northern Soul mad Brits travelling to the Motor City to attend “Detroit A-Go-Go”, the headline making event comes to Leeds in October and a commemorative 6-track 10 inch LP is being released. Interest in the Detroit-A-Go-Go 2020 at iconic venue Leeds University is sky high and the LP is guaranteed to grab the attention of a dedicated core audience. Three of the artists appearing at Leeds - Yvonne Vernee, Ronnie McNeir and Spyder Turner - are featured on the LP. All 6 tracks are hugely in demand with original copies of the impossible to find Yvonne Vernee and The Tomangoes having £3,500 plus price tags. The marketing campaign for the 3 day October shindig, which is shaping up as an early sell out, will include promotion for the LP, which will become a must buy on the buoyant vinyl loving Northern Soul scene.

Dedicated ‘to the United Nations and especially young people’, this is slow-burning, steeply screwed, early-seventies Atlanta funk by James Conley and co, spun out of a line from Eliza Hewett’s nineteenth-century hymn, When We All Get To Heaven.

The flip is deadly, too: a super-soulful blend of Sly & The Family Stone with Kool & The Gang, movingly confused and sincere in its pleading (without threats or machismo) to be loved back.

Both sides come with instrumentals. Check part two of Get Together.

Beautifully sleeved.

A great samba release, pressed on 10-inch wax and featuring a.o. Betty Reilly & Les Baxter, Dircinha Batista, Noriel Viela, Barney Kessel and Silva & Gade.

Inspired by the music of Fela Kuti and his Africa 70 project feat. drummer Tony Allenl, “The Devil Made Me Do It” is pure downtempo afro beat in its original version; the first remix here included, the “Invisible Cosmic Echoes”, has a slower pace and is characterized - as the title suggests - by reverberations and space sound, while the “Invisible Astral Wave” is perfect for a DJ remix and has got a slightly accelerated pace, with an emphasis on the percussive / tribal element.

Limited edition for Black Friday RSD 2014!

Ville Vannemaa Cassiopeia - Ring The Bell
Limited 250 10” inch – sealed with hype sticker.
“Two great groovy jazz tracks penned by one of Finlands finest reedmen, first time on vinyl!”

Commissioned for Fela Day in Amsterdam Paradiso Noord, Raul Monsalve y Los Forajidos celebrates the legacy of the father of Afrobeat, Fela Anikolapu Kuti, with this new 10’’ vinyl on Super Sonic Jazz Records, where Nigerians rhythms travel the Atlantic ocean to meet Venezuelan Calipso , sangueos, and more.

First in Venezuela, Monsalve played with a number of bands before forming the first incarnation of his Forajidos band. A move to Paris, via London, led to opportunities to share stages with a vast array of musical giants, not least of all the legendary Nigerian saxophonist Orlando Julius, as well as the Heliocentrics, Venezuelan master percussionist Orlando Poleo and members of Fela Kuti’s legendary bands, Afrika 70 and Egypt 80.

“Calipso Time” is none other than a cover of Fela’s Koola Lobitos’ “Highlife Time. Taking the original track to the region of El Callao in Venezuela, where the population from Trinidad & Tobago and other islands in the Caribbean settled themselves at the end of the 19th century when they started to work in mineral exploitation. As a result, this region of Venezuela has a particular language, mixing English and Spanish elements, and of course the celebration of the Carnival and the birth of Venezuelan calipso . Side B brings the Afrobeat madness of “Deo e’ Mono”, the very first track Monsalve did for the project back in the day. As Raul says “I just took the opportunity to celebrate Fela’s anniversary by recording this track as I dreamed it should sound when I was starting the project, learning Afrobeat only through records” . For this Monsalve called Chief Uduh Essiet, the original percussionist of the Egypt 80 and with the Forajidos’ Mario Orsinet on drums the rhythm section was without doubt cooking immediately. As on their last record, “Bichos” on Olindo Records, these two tracks are full of psychedelia, rough electronics, powerful vocals and tons of traditional Venezuelan percussion.

This silver sounding piece of South American modern music is the result of experiences had by the Uruguayan musician Paul Higgs throughout his adventures in Buenos Aires, Sao Paulo, and naturally his native Montevideo. In Tridimensional you'll ?nd a myriad of re?ections, sonic images and references to whatever this anomalous histrionic and enthusiastic spirit has to share. It is produced by the wise, well-seasoned and also Uruguay born musician Martín Buscaglia, thus adding a graceful and ?rm step to the intergenerational staircase of art in Río de La Plata's ever-growing culture.

Complete recordings by the Catalan 60s soul band LOS Kifers. Features all 6 songs from their singles, and a never released track, a cover of “People get ready” via Vanilla Fudge. 500 copies, numbered, insert with linernotes (Spanish only) and a postcard signed by all Kifers members!

Markus Acher (best known as singer of The Notwist) typically produces his own music under the name Rayon – this time, however, is a different story. Using his real name, he sends a signal re: the circumstances he recorded the music in - at home in his old apartment in Munich, in a private setting, in a time when there was hardly anything else available. Accordingly, and rather fittingly, the four songs represent a bridge to the outside world: Acher tore the doors to his balcony wide open, inviting the outside in , capturing its sound on tape: rain falling, engine noise of passing cars. And at the same time the songs pushed outward, into that sphere that remained off-limits to us for some time (“Like a plane they can go everywhere”).

The four tracks - arranged for harmonium, acoustic guitar, banjo, glockenspiel, percussion, a children's harp and vocals - were released digitally in 2021 via the Japanese independent platform Minna Kikeru, run by Saya (member of the duo Tenniscoats and Markus Acher's bandmate in Spirit Fest), among others. For two songs of «Like A Plane», Saya contributed vocal tracks as well.

Markus Acher (best known as singer of The Notwist) typically produces his own music under the name Rayon – this time, however, is a different story. Using his real name, he sends a signal re: the circumstances he recorded the music in - at home in his old apartment in Munich, in a private setting, in a time when there was hardly anything else available. Accordingly, and rather fittingly, the four songs represent a bridge to the outside world: Acher tore the doors to his balcony wide open, inviting the outside in , capturing its sound on tape: rain falling, engine noise of passing cars. And at the same time the songs pushed outward, into that sphere that remained off-limits to us for some time (“Like a plane they can go everywhere”).

The four tracks - arranged for harmonium, acoustic guitar, banjo, glockenspiel, percussion, a children's harp and vocals - were released digitally in 2021 via the Japanese independent platform Minna Kikeru, run by Saya (member of the duo Tenniscoats and Markus Acher's bandmate in Spirit Fest), among others. For two songs of «Like A Plane», Saya contributed vocal tracks as well.

Limited 10" in special tip on sleeve.With influences including Kamaal Williams, Roy Ayers, The Breathing Effect, Stuff. and Black Midi, their sound is rich in texture and depth with an underlying, undeniable groove throughout.

Lo-Fi beats of high interest limited to 100 handnumbered copies.

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career. Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics. According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”. The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day. Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor." Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured. Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists, weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades. As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music".

Following the release of his exhilarating recent album Bring Backs, London based producer, pianist, bandleader and MC Alfa Mist today announces news of an upcoming EP, Two For Mistake alongside the track 'Bumper Cars'. The EP, out via Anti-, will be available digitally on 17th November before getting a physical 10" vinyl release on 18th March 2022. Alfa's upcoming tour will be starting in November in the UK and starting Janaury for mainland Europe. The run will be the first time fans will be able to hear tracks from Bring Backs, and Two For Mistake, in a live setting. Bring Backs marked Alfa's first release for the label Anti- and is also the most detailed exploration of his upbringing in musical form, one which has resonated with audiences to the tune of 7.5 million culuated streams to date. The album's nine tracks of groove-based intricacies, lyrical solipsism and meandering fragmentations are tied together by a remarkable poem written by Hilary Thomas expressing the sensuous realities of building community in a new country. Entirely written and produced by Alfa, the album was recorded in London with a core band of longtime collaborators including Jamie Leeming (guitar), Kaya Thomas-Dyke (bass and vocals) and Johnny Woodham (trumpet).

22aTP02 is part of a new testpress series on 22a records. The "tp" series is a very limited vinyl only hand-stamped release. The two tracks from this record are taken from a Tenderlonious live show recorded in 2019 with a full band (flute, trumpet, piano, bass & drums). Side A is a live version of the Headhunters jazz/funk classic 'Butterfly,' which the band handle with finesse - a fitting homage to its creators. Side B is an original composition by Tenderlonious. 'Prayer for Yusef' is a tribute to the late Yusef Lateef, who's many recordings have inspired Tenderlonious over the years. This release is available on limited hand-stamped 10" vinyl.

Limited to 3400 copies worldwide. In celebration of Specialty Records’ 75th anniversary, a new Sam Cooke compilation featuring tracks from his Specialty catalogue focusing on his pop-leaning tracks plus the live recordings from the legendary 1955 Shrine Concert that has never been available on vinyl before. 3x10″ released in a triple-gatefold jacket, featuring replica flyers and other ephemera included as inserts in the packaging.

Pressure is the D.O.A. of some and the D.N.A. of others. For The Du-Rites, it's the latter. Pressure ain’t nothin’ but potassium!



Jay Mumford f/k/a “J-Zone” (drums, keyboards, percussion) and Pablo Martin (guitar, bass, keyboards) used the feared ‘P’ as both the impetus behind and the title of their sixth and most musically adventurous release. Coming off 2020’s A Funky Bad Time LP, how would the NYC-based funk unit follow up in a world where music fans hope live shows return (but not really), want songs instead of an avalanche of 60 second clips to scroll past (but not really) and a lapse back into lockdown never seems far off? And not only follow up, but not repeat? Add vinyl pressing plants offering turnaround as long as nine months and tour plans almost always in pencil, pressure for musicians to write and record almost impossibly fast or be doomed to the algorithm black hole is pumping. The odds are stacked, but odds make us turn corners.



Pressure is half the length but twice the density of its predecessors. Six tracks deep on wax (seven digitally), it’s more orchestrated, a bit more complex, but never, ever sacrificing grease and groove for academia. The hip-hop-and-dub-meet-funk of their 2016 debut; the ‘60s soul nod of 2017’s Greasy Listening; the cinematic "cop show funk" of 2018’s Gamma Ray Jones and the darker psychedelia of A Funky Bad Time - none reappear on Pressure. A subtle jazz leaning is there, but it’s busted and unrefined in a way only The Du-Rites would du. The title track and “Bird Brain” go there. Main single, “The Squeeze,” puts Italian Soundtrack-style vocals and strings in the mix with drippy guitar, reggae influence, Barry White-style ad-libbing and groove drumming for the most distinct and lush tune in the band’s catalog. “Brother Yizar” goes full-on park jam on a percussive, uptempo rampage and the closer, “Fly Swatter,” swings hard with whirling dervish Hammond organ and walking basslines. The mockingly-titled “Math Rock” is the closest thing to any previous Du-Rites, but the wild twists and turns are uncharted territory.



In an ever-uncertain musical landscape, Pressure is The Du-Rites finding a way. Like they always du. But du-in it differently. Live and/or on wax, The Du-Rites have played alongside the likes of Eddie Palmieri, Robert Glasper, Ghostface Killah, Wax Tailor, The Skatalites and members of Sun Ra Arkestra. Individually, Jay and Pablo, as drummer and guitarist, respectively, have worked with Danger Mouse, Lord Finesse, Madlib, Tom Tom Club, Broken Bells, Soul Supreme, Ben Pirani and many more.

Record Store Day 2021 Release.

Originally released on CD on November 8, 2017, “Vu Ja De” is now issued on LP for the first time! For this release, Hosono’s favorite 10-inch LP was adopted. It includes liner notes written by Hosono himself, describing his thoughts on each song and their

Limited 10" in a deluxe tip on sleeve. Steiger eagerly explore the outer margins of jazz and dive into other universes (contemporary music, electronica, pop, free improvisation,...)This new EP also sets the tone for their next full-length album, for which the band intends to try out shorter songs and a stronger emphasis on sound exploration.

Fünftes Volumen der beliebten Serie auf Stag-O-Lee. Erstmals ist ein Gast-Compilant am Start - niemand anderes als Hank Ray, Kennern des Genres bekannt als Leader der Raymen, Solo-Künstler und aktuell mit Lucifer's Sideburn unterwegs.Limitiert auf 666 Exemplare, kommt das Werk feinstverpackt im 10" Cover mit Mittelloch.Gunsmoke ist eine Sammlung von Country- und Cowboy Tränenziehern mit oder ohne leichter Schräglage, melancholischem Rockabilly und Popcorn Noir aus den späten 50ern und frühen 60ern. So könnte eine alte Jukebox in einer verlassenen Stadt im alten Westen klingen.... Fifth volume in a limited edition series on Stag-O-Lee. This time compiled by the one and only Hank Ray - a fixture of the German Cramps/Rockabilly/Country-scene, having fronted the legendary Raymen, being a respected solo artist and currently in Lucifer's Sideburns. Limited to 666 copies and packaged in a nice 10" sleeve with center hole. This is a collection of oddball country weepers, moody rockabilly, widescreen country & western and popcorn noir from the 1950's and early 60's.So turn out the lights, sit back and relax to the soundtrack from a jukebox in a ghost town...For best results: listen to after dark!

“Heinola skilfully demonstrates the full range of his arsenal, skipping through his cherished hard bop style of jazz while interweaving subtle nods to Latin and Afro stylings in perfectly exquisite measures.” -UKVibe
“Three additional songs from the celebrated debut session, limited 10 inch!”
The talented drummer continues to explore the hard-bop sound of today with three more tracks; Bouncing At The S.U.P., Chasing The Spirit – two songs composed by the drummer and the quintet’s own hip rendition of Book’s Boosa by Walter Booker. Only available on vinyl in this special limited 250 only 10″ inch.

10" LP Edition of 275, silkscreened gatefold jacket with three random colored obis, inserts, and two postcards. The fifth volume of An’archives’ Enka Mood Collection split 10” series, two trios explore the possibilities of enka (Japanese popular torch song, or blues) in typically expansive fashion. Side one features four songs performed by the trio of Mineko Itakura, Shin’ichi Isohata and Michel Henritzi. All musicians with impressive histories, Itakura was a member of downer psych group Angel’In Heavy Syrup and Slapp Happy Humphrey; Isohata has worked with Otomo Yoshihide, and composed a soundtrack for Tadasuke Kotani’s film, The Legacy Of Frida Kahlo. Michel Henritzi is also a known quantity: over the years, he’s been a tireless supporter of Japanese underground music, a writer, critic and record label owner who’s also recorded with Junko, Tetuzi Akiyama, Rinji Fukuoka, Masayuki Urabe, and Á Qui Avec Gabriel, among others.

The trio takes on four enka songs, extracting the bittersweet tang from each melody, comfortable in the space that enka inhabits, a world of longing and nostalgia that sits somewhere between tradition, folk and blues.

Flip the 10” over, and RQRQ - Yuka Ijichi, Doronco and Mitsuru Tabata stretch out across three songs. They’ve plenty of prior form for this – Tabata’s history includes time with Acid Mothers Temple, Boredoms, Zeni Geva, Green Flames, and 20 Guilders; Doronco goes further back, a one-time member of Les Rallizes Denudes. Ijichi is a relatively new presence, but she’s released two gorgeous cassettes of acid folk on Selection Records. There’s an immediately sympathy to their playing, and a preternatural ability to grasp the core of the material; it’s beautifully performed.

Liner notes by Alan Cummings

A download code is included. Satanique Samba Trio is an instrumental Brazilian quintet that deconstructs Brazilian folklore & with free jazz and punk aesthetics, a soundtrack that reflects the country's current political feeling.

Limited 10" vinyl. The Broensgebuzzes are common themes in the work of De Beren Gieren. It is a small nostalgic piece of music, an invitation to long-gone memories.Celebrating their 10 year anniversary as a trio, these miniatures are now transformed into a narrative mini-album.

Wanubalé – nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. This band sets out to define their own, highly danceable version of Jazz, Neo Soul and Funk.
The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair, everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili.
Wanubalé's instrumental debut album was recorded by Axel Reinemer in Berlin's Jazzanova Studio in 2018. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote and Nubiyan Twist. But Wanubalé do their own thing, having produced and arranged the album. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, might brass sounds and great melodies.

Recorded at Levontin7, Tel-Aviv, Israel on the 17th February, 2017. Recorded by Nitzan Levi. Mixed by Ronald Boersen. Mastered by Arūnas Zujus at MAMAstudios. Design by Oskaras Anosovas. Back photo by Nitzan Levi. Album title comes from W.B. Yeats’s poem “A Prayer for my Daughter”, 1919. Producer - Danas Mikailionis. Co-producer - Valerij Anosov.

Limited edition for Record Store Day 2018!

Limited edition for Record Store Day 2018!

Limited Edition for Record Store Day 2018!

Sdban Ultra is very pleased to present a sampler of Steiger's debut album 'And Above All' on a limited 10" vinyl for Record Store Day 2018. This release marks their introduction on Sdban Ultra, their sophomore album is expected next fall.

Masami Kawaguchi has been an influential figure in the Japanese underground scene for 2 decades, playing with bands such as Miminokoto, Broomdusters, Los Doroncos and more recently with his New Rock Syndicate. He’s also known as a major & regular Keiji Haino collaborator in Aihiyo, and more recently in Hardy Soul. He’s one of the greats of modern Japanese psychedelic rock and more recently he recorded the beautiful “The Mad Guitar Sings” album on Black Petal, which is a dark solo take on Masami’s signature sound, balancing between late night/early morning comedown blues and black, luminescent storm-song.

On this release Masami covers 2 different songs, delivering a personal & bleak version of a great enka standard (if not the prototype of the enka song) and a fiery cover of a weird and rather unknown song.

Toshimitsu Akiko is better known under her maiden name of Terashima Akiko and she led a band called Doodles for more than 15 years. She and Kawaguchi Masami teamed up together for a short time as Homemade and after releasing a cassette, the first Doodles CDR was released on Masami’s Purifiva imprint, followed by a CD on Alchemy Records. Doodles played plodding, haunted psych-rock, with storms of guitar distortion hovering on the horizon, and sweet, sad vocals quivering deeply soul-ward.

More recently she mostly plays music as a duo named Aminome that could be heard as a Doodles follow-up with slightly rounded corners. On this release Akiko plays guitar, drums & accordion, covers these enka songs with her timeless & forlorn voice, picking up any human with a heart.

The album comes in a silk-screened gatefold jacket with obi (blue, pink or brick red) insert + postcards.

Released on a pink 10-inch vinyl platter, as part of the series 'Ten X Ten', here are ten tracks by the legendary Texas soul-blues singer.

In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.
On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere.
The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

Two no-flim-flam, cross-border, dub-wise stompers paired with masterful versions from the veteran, Kingston-based unit led by the trombonist of Count Ossie’s Mystic Revelation Of Rastafari and The Light Of Saba.

Turkish/Greek madness from Israel! 3 psych killers from Levitros, a lesser-known artist from what is known as the 'Israeli Greek craze' of the early 70's. Deep & intense, Kara Kaslar drops heavily after a long intro in what can only be described as a true tavern monster. On the B-side expect Farfisa and drum interpretations to Greek rooted tunes, made strictly to keep the crowds dancing all night long. Staple tracks from Fortuna's DJ sets, known only to few, until now !

Enjoy amazing and danceable tunes from the late 50s and early 60s - a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm & blues - most of them with an exotic twist! 12 songs each on nice 10" vinyl (only)!

Three of the deepest, freshest instrumentals from the imminent album — featuring the Hypnotic Brass Ensemble on the opener. Sound-wise, this is doubly lethal, as alive and present as vinyl gets: mixed by Mark Ernestus, mastered and cut at D&M, manufactured at Pallas. In a silvered, silk-screened sleeve; a limited one-off.

Two tracks exclusive to this release: the one and only Badu in an irresistibly catchy do-over of the euphoric album instrumental there, also featuring veteran Malian synth freak, Cheick Tidiane Seck, and a dub by Mark Ernestus, from Rhythm & Sound. Lovely silk-screened sleeve.

feat. Georgia Anne Muldrow ... incl. Floating Points Remix

Nick Walters returns to his D.O.T. imprint with a limited edition 10", featuring a selection of two ragas recorded in collaboration with the Pakistani musicians Kashif Ali Dhani (tabla) and Muzamil Hussain (sarod). This 10" is the forerunner for a full album due for release on D.O.T. in early 2023, which features tracks born out of a trip to India in 2019.

During a month long trip backpacking around India, Walters started piecing together a new album, taking inspiration from the sights, sounds, food and culture. He also took a digital recorder with him, recording samples whilst on the road that he could use for the album. The two tracks on this record feature some of those samples and are an exploration of ragas - the North Indian classical music he encountered on his trip. Of course, the exploration of Hindustani Classical music is a well trodden path for many great musicians, led in the 60's and 70's by jazz heroes such as John Coltrane and Don Cherry, and more recently Walters' long time collaborator and friend Tenderlonious. Both tracks on this limited edition 10" focus on traditional ragas and feature Jaubi band member and tabla master Kashif Ali Dhani, and Muzamil Hussain on sarod.

'Ranakpur' is a raga using the mode of Raag Charukeshi, a scale referred to in western music theory as the aeolian dominant. It is said to incite feelings of pathos and devotion in the listener, and inspiration for this recording was drawn from visiting the ornately carved Jain temple at Ranakpur in Rajasthan, India.

'Raga for Don' is a tribute to Don Cherry, and uses the same mode (Raag Malkauns) which he explores on his track 'Malkauns' from the classic album 'Brown Rice'. The notes of this raga correspond to the western pentatonic scale, and are said to have a soothing and intoxicating effect.