Organic Grooves 2768 Items

Champagne Wave VinylFrom Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staples Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren's singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His ever-evolving 24-Carat Black project spanned the '70s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren's 1980s demos cut with grown n' sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. III is an unfinished symphony that peels away the final layer of Dale Warren's mysterious oeuvre.

Drummer/producer Teppo Mäkynen presents a new album by his lauded trio ensemble 3TM in 2019. Before the second 3TM album "Lake" comes "Abyss", a collection of 10 ambient pieces laying the groundwork for the upcoming album. This prelude album is a full-bodied work in itself, a glorious and somewhat mysterious LP which brings forth yet another shade of multifaceted Mäkynen's musical vision. The 10 compositions on "Abyss" feel like the discovery of life and movement in deep waters, where only the rare shades of light breaking through indicate that another world exists above the surface.
"Abyss" will be available as a clear vinyl edition, on tape and digitally, and both as a standalone album and as a bundle with the upcoming 3TM trio album "Lake".
Teppo "Teddy Rok" Mäkynen is a drummer/producer from Helsinki, who works at the centre of the lively jazz scene in Finland. His work includes projects such as 3TM, The Stance Brothers, Teddy Rok Seven and the new duo with sax player Timo Lassy. Mäkynen also plays drums in several highly-regarded ensembles such as Timo Lassy Band, Aki Rissanen Trio, Jukka Eskola Soul Trio, Verneri Pohjola Quartet, Nicola Conte Jazz Combo, plus many more. As a producer, his work has been highly regarded in projects such as 3TM, The Stance Brothers, and the albums of Timo Lassy and Jukka Eskola.

The 44th Move occurred during the six match chess battle between Deep Blue (IBM) vs Kasparov (Grandmaster) in 1996/97.

The 44th Move per se represents the moment when a human being (Kasparov) realised he was facing a superior intellect (Deep Blue).

The 44th Move was a glitch?

The 44th Move is the anonymous combination of two established creative minds adding bugs to the source code of Jazz.

From the word go ‘Broken’ is unquestionably crafted by two skilled musicians. Intricate drums, twinkling melodies and a sultry bassline generate a thoughtful composition comprising multiple interlocking layers and compelling emotion.

On the flip, Dan Shake packs more punch with a house remix complete with purposeful kick drums, however it still retains the original’s charm by incorporating all of its classy elements.

“Who put the dance into Factory Records?” Be With would like to refer you to FAC 59. Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12″ is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul. Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester.

Wan Chai Records is a Hong-Kong based label, specialized in rare Asian records and quality reissues.
For their first release, they wanted to highlight a promotional record released at 500 copies only in Hong-Kong for a famous Soda brand. It was offered with a pack of bottles in 1977 and never been released.
Produced and arranged by Noel Quinlan, this Album is a mix of Funk and Soul covers. The result is an awesome LP including groovy covers, from the classic “Lowdown” by Bob Scaggs, to a Funky “I Shot The Sheriff” by Bob Marley with a deep Fender Rhodes, and 12 other outstanding tracks.

A juicy 4-track EP from Eine Welt. 700wet is an art pop project by queer opera singer Marja Christians (award-winning dancer) and Cid Hohner (Moonwalk X Records, Otto, Aufgang B). Luring outsider synth-pop with touching and honest opera vocals. It reminds of Grace Jones doing minimal wave in a Chicago house. They call it “Lovers-Dance”. While you may melt on the slow and extended dubbed out title jam “Gimme Love”, the sassy “Cannoli Amore” is a catchy, fun dancer at 120 bpm. Recorded during the pandemic primarily with nothing but cheap 1989 Yamaha keyboards.The project also reflected what they wanted to hear when there was a big void.

For years, Lee Fields has been asking for and patiently waiting on a
reggae rhythm to sing over. To bring this dream to fruition, EMA teamed
up with frequent collaborator and reggae enthusiast, Nick Movshon,
and busted out this version of the Lee Fields & The Expressions' instant
classic, Never be Another You.
The A side is the vocal version of the tune; EMA cut a killer interpolation
of the original and had Lee lay down the vocals like only he can. The
result is right on time for summer, a feel good side that can hold court
right next to the classics.
The B side finds Michels manning the boards for a proper version of the
tune. Echoes, drop outs, and reverb flourishes all dancing through the
mix in proper reggae style.

Electronic musician 7FO's first release on EM Records in a long time is a new tune and single that will change the image of 7FO. The new song, "Healing Sword," which the artist says they approached with the "feeling of being mysterious DIY musicians" (not a feeling, they actually are), was the first single song in 7FO history to be produced as a tribute to the 7" pop era and Joe Meek. "Surf synth acid dancehall rock!!" - Jackson Bailey (Tapes/Rezette)

LP in tip-on jacket with purple velvet and gold foil stamping. In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities' insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife's cousin: a 16-year-old guitar prodigy named Prince Rogers Nelson. Known colloquially as "The Cookhouse 5" these recordings showcase Prince's instantly recognizable guitar playing, seasoning to perfection 94 East's short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One's expressive playing style, already evident in his teenage years.

Hot on the heels of Ramrock Retro’s debut release – Rrret001 – Gladys Knight & The Pips – Ramrock Retro is insanely delighted to present their next release – the superb double sider of Aaron Neville’s ‘Hercules’ and Al Jarreau’s ‘Use Me’. Recently covered by Ramrock artist, Ghetto Priest, Aaron Neville’s 1973 classic ‘Hercules’ needs no introduction but here’s a few facts. Originally released on Mercury, the track was co-produced by New Orleans luminaries, Allan Toussaint and Marshall E Sehorn. ‘Hercules’ enjoyed a massive renaissance in the mid 80’s on the ‘Rare Groove’ scene and was repressed 16 years ago in 2005 on Jazz Man Records. Al Jarreau’s ‘Use Me’ comes from his 1979 ‘Lonely Town, Lonely Street‘ and is a wonderful cover of the Bill Wither’s track. ‘Use Me’ has never previously been released as a 45 so this is its UK debut. Both tracks have been beautifully remastered by Darren Morris at North Street West.

Abby Jeanne has been an artist her entire life. While growing up in Milwaukee, WI, she was indoctrinated into the arts via a public art schooling experiment in the 90s. As a pre-teen, she was socially adopted by a Rock N Roll cafe cult, where she wrote music, painted, and started her deep infatuation with records, especially 60s pop and underground soul/rock n' roll via the haunted jukebox that lived there. A series of family tragedies, including the loss of her sister, left Abby living in a car with her guitar, which led to her traveling overseas and carving out a music career for herself. Through it all, she is currently a New York City-based multimedia artist who has built a name for herself through not only her music, but her visual art and event throwing. After years of hustling to create DIY releases and garnering the support of national radio stations across the country, 2022 saw Abby Jeanne release the single "That's Where We Are" on Philadelphia's Eraserhood Sound. Today she is back with a brand new 45, Know Better / Sage and Cigarettes. Both of these unforgettable tracks feature Eraserhood Sound's signature in-house analog synth and soul production, and they represent some of Abby's best, most inspired work to date. A-side "Know Better" is a rollicking pop-soul party-starter that features a four on the floor beat, electrifying guitar riffs, and deceptively profound lyrics that examine the selfishness and vapidity of today's society. On the flip side, "Sage and Cigarettes" is one of the most powerful and intimate songs Abby has ever recorded. The track, with its slow-burning shuffle and classic instrumentation reminiscent of Otis Redding's most emotional work, is a direct reflection of her experience healing as a traumatized woman in a modern world. Together, these two songs showcase the extremely talented, complex, and exciting Abby Jeanne, an artist who is undoubtedly ready to take the world by storm in 2023 and beyond.

180 gram audiophile vinyl
Soul, boogie, funk album produced by Michael Stokes
Includes the big club hit "Give Me Your Love"
Reissue for the first time since 1983, celebrating its 40th anniversary

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Adam Blackstone is not only a multi-faceted bass player, musician, Emmy-nominated music director and Grammy award-winning writer, but he is also notably the musical mastermind behind the live shows of many of today’s biggest artists (Justin Timberlake, Rihanna, Janet Jackson, Alicia Keys, Eminem,...the list goes on). Blackstone’s TV legacy continues to expand as music director and on-screen personality. He has contributed his talents to today’s biggest shows, including the Oscars, NBC’s “The Voice,” the Grammy Awards, numerous BET, VH1 and MTV specials and as the music director for The hit Fox shows “The Four” and “The Masked Singer.” This is Adam’s debut album and features guest artists including Jazmine Sullivan, Jill Scott, Mary Mary, & Kirk Franklin.

produced by Rick Rubin & Paul Epworth

produced by Rick Rubin & Paul Epworth

Always best selling Adele is back with a new set of heartfelt anthems.

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

During the year 2019, Adrian Younge and Ali Shaheed Muhammad made music with the masters. Composing and producing brand new albums with their heroes. Jazz Is Dead 001 is where it all started, their first presentation of work that has come out of these initial sessions.

Jack Waterson is the acid that Adrian never took as a kid. The result, as you’d expect, is both colorful and dark; full of sonic and musical surprises. The creative relationship they have questions the social order of the United States, yet theirs is a quintessentially American Story: Kindred spirits.
Punk rock and hip hop came from the same place, fueled by identical sentiments: people taking the music back, reclaiming it, and finding a new audience. Waterson, primed from the mid-70s Punk scene, began his musical career in ’79 as a founding member of Green on Red. They inspired artists as diverse as My Bloody Valentine, Wilco and Mazzy Star with their records and psychedelic palette. Years later, Waterson continued his influential journey by opening the revered musical instrument store, Future Music, a Los Angeles staple.
In ’99, an 18 year-old Younge realized that he wanted to create music that sounded like the records he was sampling. Unbeknownst to him, he serendipitously wandered into Future Music. It’s there, he realized his dream was possible. Intrigued by the stores focus on pre ’83 equipment, Waterson soon became a mentor in developing Younge’s unique analog sound. They spoke heavily about the importance of vintage equipment and it’s use in creating revolutionary worlds.
During these years, Waterson schooled Younge on psych and art rock; Younge returned the favor by schooling him on Hip Hop, the origins of sampling, and its source music. Together this unlikely duo manifested new revolutionary worlds with Waterson appearing on every Younge album within the last decade.

In the great and ongoing culture war between high and low, raw and refined, the real versus popular, certain territories have been ceded: styles
considered mainstream get to be pretty, lovely and optimistic. Styles originating underground are presumed to be gritty, burly and practical.
So it’s a subversion of a kind, and definitely an intellectual challenge, to bathe a foreboding bass line in a lilt. To make gloomy shine. To trojan
horse some heavy feelings in a delicate vocal.
Adrian Younge’s Voices of Gemma embodies the potential of the hybrid. By just saying no to the borders a label like underground might impose
on a creativity like his, he’s able to fashion a sound that elbows its way past your defenses, whatever they are. You don’t want to hear anything
grim today? Had enough of that on the news, thanks? Younge has a couple of angels on hand to waft a hard truth over so that when it hits it
feels like a kiss. Sick of the saccharine piped over aisle 4 at Walgreens? Younge’s palming you a melody fit for impending doom.
Voices of Gemma comes from Younge’s refusal to accept the premise. His stance is there in every artist’s job description — the determination
to suction up sounds and flavors and phrases from all over the past and present and imagined and documented, and then splice and dissolve
what he finds into more possibilities and new ways of seeing, something fresh.
On this project his songs are precise, the set ups delivered with a satiny finish and, in the low end, just a hint of louche. His characters are
lyrically poised, but when it comes to their emotional lives, as portrayed melodically, it’s one cliffhanger after another. Younge’s female leads
take up residence in their upper register, a fairytale landscape pierced only once by a man’s voice. The dreamy, internal feeling singers Brooke
deRosa and Rebecca Engelhardt conjure up is tethered to the earth by music that’s filmic and deeply intelligent. Here there are easter eggs left
in accent notes and fills. Care has has been given to every detail, and the old way of doing a thing (bring in an orchestra, record to tape) is the
way its done; it’s like listening to a five-star hotel.
Voices of Gemma is luxurious, a style that we forgot could be present day, as accustomed as we are to sampled and thrice-removed versions
of it. This is high-class signified, a world-class realization.

It was made the way they made electronic music in the good old days, all analog everything, right after synthesizers shrunk to a manageable size and you didn’t have to trek down to a university to use one anymore. Electronic music as practiced and developed by pioneers like Dick Hyman and Raymond Scott and Wendy Carlos is precise and intentional. In making his first electronic album, Younge took his cues from them, reminding a contemporary audience what a synthesizer, deep in its heart, really could be. “Black Noise” is men talking to men about women; “Lemonade” is a woman talking to women about men, and they both orbit around a failure we take for granted like the sun: loving you is complicated. It’s a skill; we forgot. Adrian Younge calls “The Electronique Void” an academic album, by which he means it is both instructional and informational. There’s a problem at the heart of it, a woman who’s been told that she’s loved, but she doesn’t recognize that, can’t feel it, may have heard it all before, may be worrying about the wrong things. Jack Waterson, long a guitarist in Younge’s band, plays the role of narrator, sounding professorial and rather superior as he lays out for the woman where she’s erred. That vocoder you hear is Adrian, talking to her on a subterranean level, the way an artist must. The discourse on the album is the kind of thing that happens when you go blonde and then you can’t keep ‘em off you. These truths are cold and hard, and our hero begrudges the well-meaning advice being rained down upon her as any independent woman would. The science of love, its formulas and if-then constraints, causal relationships and observable properties, is best taught experientially, but learning it hurts so, so bad. Music, especially electronic music, reliant as it is on abstraction and unrepentant as it is about hijacking your physiological responses to tempo and rhythm and dynamics, is a way to get there without going through it.

Continuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of an anthology of the group África Negra.

This first volume includes 12 of their key tracks, remastered for the occasion and selected only from those officially released on different media. The album is accompanied by a booklet with the original covers and interviews with the band members still with us. A second volume containing only unreleased material, digitized from the studio tapes by their tour manager, and filled with period photos, is expected soon.

Formed in the early 1970s by Horacio, a butcher by trade, and his guitarist friend Emidio Pontes, África Negra is the best known of the great São Tomé and Principe bands. The catchy melodies in the local Forro language, provided by lead singer João Seria, and subtly harmonized by the enchanting backing vocals of the rest of the band, quickly ensured their influence outside the archipelago. Their incomparable blend of Puxa and Rumba rhythms and subtle melodies made them the most regular touring band from Sao Tome.

Their first album (Aninha) was released in 1981, followed by three more in 1983. They contain an incredible collection of timeless hits and have achieved high ratings on the second-hand market. Then came the excellent San Lena in 1986, which was unfortunately only released on cassette, but for which we were able to digitize the original tape. In 1990 their last album in vinyl format (Paga me uma cerveja) was released, the rarest. Three CDs and five cassettes followed in the 1990s. Like most São Tomean bands, they recorded their compositions at Radio Nacional STP, the only studio on the island at the time, whose cramped premises forced the big bands to do sessions outside in the courtyard, at night, facing the ocean and in front of their fans.

Reformed around João Seria, the band has recorded three albums since 2012, and has been touring again for a few years, offering, always with the same energy, their frenzied rhythms, their graceful harmonies, their poetry full of social metaphors, and their typical dance steps.

Afro Latin Vintage Orchestra’s (ALVO) new album Pulsion delves deeper into spiritual jazz, library and film music. The result is a heavier, more progressive and darker sound albeit
with their signature funk and groove remaining intact as the foundation.

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.

Vinyl LP (incl. 2 page insert) Far Out Recordings proudly presents Argentinian guitarist Agustín Pereyra Lucena’s 1980 album La Rana.Recorded in Oslo, La Rana features Agustín’s stunning takes on compositions by Ivan Lins, Antonio Carlos Jobim and Agustín’s friend and musical hero Baden Powell.

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before Ortf recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (ina) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes. « While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives". A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so". If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique)

Limited Clear Vinyl edition, 500 copies! Besides playing with the likes of T. Monk, J.Coltrane, A. Blakey and R. Weston, bassist and oud player Abdul Malik is mostly remembered as one of the first to explore how elements of Middle Eastern and North African music can integrate with Jazz idioms. Originally released in 1963 on Prestige Records, this is his fifth studio effort featuring Bilal Abdurrahman - alto saxophone, clarinet, Korean reed flute, percussion, and William Henry Allen - bass, percussion, A peculiar combination of different instruments and sounds for a step into the Eastern side of Jazz.

Limited to 1000 copies incl. download code!

Surely to be one of the heaviest 45s dropped in 2016, this 45 is a can’t miss from AJ & The Jiggawatts! The A-side is heavy, heavy mid-tempo funk while the B-side is uptempo and is exactly what is sounds like...P-A-R-T-Y MUSIC!! For folks that like the funk flavor of Bobby Byrd and The Poets of Rhythm, this 45 will satisfy that itch!

Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa. Featuring percussion-heavy versions of ‘Let's Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’.
'Back To Rhythm’ was the final recording in Ishikawa’s African-influenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. Includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti.
Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!
Official Mr Bongo reissue. Licensed from Nippon Columbia Co., Ltd.

Rich, deep, percussive soulful folk album from master Togolese singer, Akofa Akoussah. The album moves through uptempo afro-folk-funk on ‘Tango’ to deep ballads of ‘Ramer Sans Rame’ and ‘I Tcho Tchass’ and lighter moments on ‘G Blem Di’ and ‘Mitso Aseye’. Akofas exceptional songs and soaring vocals are decorated with percussion, guitar lines, subtle backing vocals and horns to create a unique, rich sonic. The album was recorded for release by French label Sonafric in 1976. Produced by Gérard Akueson; founder & owner of African record label, ‘Akue’, based in Paris.
Music was truly in the blood of Julie Akofa Akoussah. She began singing at the age of three, inspired and led by her mother and older sister and became principal soloist in her school choir, St. Peter & Paul Choir of our Immaculate Conception Parish of Nyékonakpoé, at the age of 8. From there her career blossomed, and singing often took precedence over her studies. In order to master her art she spent time studying and working closely with local groups including Mélo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elégance Jazz and Togo Star amongst others. In her own words: ”Luck opened the door in January 1966 where I had the honour of being selected to share the stage with Bella Below – one of the best voices of
Africa – at the 1st ‘Negro Arts Festival’ in Dakar. On my return, I was approached by Ambroise Ouyi, the highly respected singer & poet, and we wrote ‘Tu Ne M'Écris Plus’, my very first opus.“
The popularity of her work led to an increased exposure for Togolese music outside of the country, in neighbouring Ghana and Benin most notably. During her career she collaborated and performed with greats including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Koné and Myriam Makeba. Akoussah was also dedicated to, and widely recognised for, her work for social causes, championing and nurturing young musical talent, and the fight against AIDS. She was president of the National Union of Artists Musicians of Togo (UNAM) before sadly passing away in April 2007 after a long illness, at the age of 57.

180g vinyl

- "Look What You've Done to Me" sampled by Arrested Development for "Warm Sentiments"

- "Here I Am" sampled by Cappadonna for "Slang Editorial" and
UMC for "Anyway the Wind Blows"

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn’t heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band’s versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like “Sah” to psych rock like “Horreya” or incredible jazz fused pop on songs such as “Edba Mn Gded”. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn’t a strong compilation of the group’s songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

1500 pressed. Following his million-selling hit “Show and Tell”, Al Wilson went on to release this second Rocky Road record in 1973. With a host of different producers contributing to these works, Weighing In is a predominantly smooth soul album infused with Al Wilson’s famed gritty soul vocals and an essence of ‘60s rock.
Celebrating its 50th anniversary, this record is reissued here on heavyweight orange vinyl.

Gold, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1, introduces the world to the artist’s truest self. That is... though DePlume’s now known across the globe as the saxophonist who created that collection of wonderful, wordless music, he’s most known to fervent fans in his home zone of London, UK, as an outspoken poet and orator, beloved for his inspiring words of encouragement and sing-a-long-able songs about vulnerability, humanity, and courage. Gold is a sprawling double album that finds DePlume expressing both sides of his artistic character beautifully: (1) an articulate singer and songwriter who invokes the melodious crooning of Donovan as much as Devendra Banhart or Syd Barrett, whose tunes are almost like mini-sermons, full of existential comedy and spiritual enlightenment; and (2) a brilliant composer of simple, soothing, and viscerally nourishing instrumental melodies, with a gift for expanding them into intrepid collective improvisations, led by a delicate and distinguished saxophone tone that conjures the fluttery sweetness of the great Ethiopique Getatchew Mekurya.

In Germany only available at HHV.

Salty Road Dogs Victory Anthem!! Alabaster DePlume and his live band of Rozi Plain, Conrad Singh, and Momoko Gill caught fresh off of tour & recorded to tape at London creative hub Total Refreshment Centre by in-house engineer Kristian "Capitol K" Robinson, mixed by Dilip Harris. Limited Edition Flexi Disc.

Originally released on Discomagic in 1988, probably it’s one of the last italo disco classics tracks from the 80s. The track was composed by Fred Ventura (not performed) and Gianfranco Bortolotti (Media Records).Very energetic track with a unique structure in its genre, more clubby than an italo classic track. A unique fantastique lead melted into a likely trancy bassline. Dub version a bit more clubby on b-side.

This recently unearthed recording captures saxophonistAlan Braufman with his five-piece band in an early 1975 live radio session soon after recording his debut album Valley of Search for the India Navigation label. This was the first meeting of William Parker and Cooper-Moore, whose musical partnership has flourished ever since. The 94-minute performance is spread over 5 sides on 3 LPs / 2CDs. Newly mastered with liner notes by the host, Susan Mannheimer. Braufman has earned worldwide acclaim after the 2018 reissue ofValley of Search, and 2020's new album, The Fire Still Burns.

In late 1974, India Navigation label owner Bob Cummins set up microphones in a New York City building's storefront, documenting two short sets by a band with no alternate takes or additional cuts. These recordings became saxophonist Alan Braufman's debut album Valley of Search, which captures a unique and very alive historical slice of New York's creative improvised jazz underground. The first ever reissue of the 1975 free jazz album "Valley of Search" features Cooper-Moore and Cecil McBee.

180 Gram Vinyl!

In the mid-'60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk', his delivery was radically aggressive and his tone blistering – aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, "It's not about notes anymore. It's a sound – a feeling. The approach we're taking will discontinue the use of the word 'jazz.'" In Greenwich Village, Ayler's first LP on Impulse!, perfectly captures the Cleveland-born saxophonist's radiant intensity. Sourced from a pair of live engagements – February '67 at the Village Theatre on New York's Lower East Side and December '66 at the Village Vanguard – these recordings show an improved clarity in production and performance. Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are "For John Coltrane," a tribute to Ayler's mentor who would pass later that year, and "Truth Is Marching In" where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect. Vibrant in sound and vision, Albert Ayler's In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal – and well documented – year in the free jazz artist’s career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity, Ayler’s first record for the legendary ESP-Disk’ label, that summer.

Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like “Spirits” and “Ghosts” the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz. Our Swimmer is pleased to present the first official vinyl reissue of The Hilversum Session in over thirty years.

All compositions by Albert Beger
Recorded on May 31st and June 1st, 2017 at Alt Studio, Afula, Israel
Recorded and mixed by Yoram Lev and Itay Alter
Mastered by Arūnas Zujus at MAMAstudios
Cover art by Anat Beger
Back cover photo by Itay Alter
Design by Oskaras Anosovas

Modern and grounded in 1960s hard-bop sensibility, the American pianist and composer Albert Dailey (1939 – 1984) had perfect control over his instrument. Since an early age he played with cutting-edge musicians, the likes of Art Blakey, Sarah Vaughan, Stan Getz, Charles Mingus and Lee Konitz to name just a few. But despite that, he was an underrated artist during his lifetime receiving deserved recognition only after his death. Renaissance 2 November 1977 is his second album, played by a bold group that includes the voice of Cheryl Alexander, Carter Jefferson on sax, Cecil McBee on bass and features both Cheryl Alexander and Adam Nussbaum on drums.

* Record Store Day Europe / UK 2019 Exclusive Release!
* Originally released on Westbound Records in 1973
* Pressed on 180gm vinyl
* Limited to 1,000 copies

By the time singer-songwriter Albert Washington went to record the tracks that would be released on his career-defining LP, Sad and Lonely, in 1973, he was already a veteran on the recording scene. He had singles recorded on a dozen labels, in styles ranging from gospel to blues and soul. Washington (born in Georgia, 1939) made his own guitar out of a gasoline can using rubber bands as strings at the age of seven. After the family moved to Cincinnati, Albert started going to clubs in the area where he was exposed to artists from the likes of B.B. King and Sam Cooke who would inspire him to become a performer. By the mid 1960’s, Washington had started his recording career, cutting several singles for various labels. His 1964 recordings for the VLM label, including the song he wrote called ‘Haven't Got a Friend’, got him noticed in England, and this in turn led to a deal with Fraternity Records in 1966. Lonnie Mack later joined Washington on several singles for Fraternity recorded in 1969. In 1970, he released two singles on the Jewel label before finally recording his first LP (Sad and Lonely) for the Detroit-based label ‘Eastbound Records’ in 1973. Recorded with the Memphis Horns, the tracks on Sad and Lonely are prime southern gospel-infected soul, funk and raw Albert King style blues…bearing the heavy influence of both James Brown’s funk and Otis Redding’s Memphis soul. Albert’s music is full of lament, urban hustle and lost love, the precise guitar strokes alongside Washington's soaring vocals create the mood for the blues to invade the funk parts. The female backup singers’ harmonies are the cherry on top and the album is a funky emotional onslaught with relentless dance grooves from start to end. The outpour of talent featured here on ‘Sad and Lonely’ was carefully produced by Bernie Mendelson (Donald Austin, Melvin Sparks, Ceasar Frazier), engineered by Ronnie Capone (Stax) and then mastered by the legendary Howard Craft. Because of complications from diabetes (Washington lost his sight and went completely blind) he had to put his musical career on and off hiatus…but despite the crippling effects and the tragedies that befell him over the course of his life, Albert remained an upbeat, positive figure. Washington continued to perform in blues clubs around Long Island prior to dying of complications from diabetes on October 23, 1998. ‘Sad and Lonely’ was originally released on Eastbound (whose parent label Westbound had hitmakers such as Funkadelic & the Ohio Players on its roster in 1973). This rare album has now attained a cult status and fetches hefty sums on the collectors-market. Now it’s finally back available as a limited deluxe 180g vinyl edition (1000 copies) featuring the original artwork. Released exclusively for Record Store Day (UK & Europe) 2019, available in participating stores on April 13.

Taken from the soundtrack to an obscure 1975 Italian film, Elio Bartolini’s L’Altro Dio, these two killer disco-funk instrumentals might have remained in oblivion were it not that Four Flies rescued and included them in the comps Esterno Notte and Esterno Giorno, both of which sold out quickly and have become almost impossible to find. It seemed more than proper now to release them for the first time ever on 7”.

First single from Alex Fernet's debut 2023 album entitled, Lucidanotte. Produced at Overdrive Recording Studio with Edoardo "Dodi" Pellizzari Drums by Diego Dal Bon Cp80 by Little Albert Artwork by Riccardo Michelazzo

An unexpected slice of psychedelic Caribbean jazz, with acoustic piano, steel drum and tripped-out conga solos. The soundtrack of that crazy dream where you hang out with Charles Mingus, Herbie Hancock and Mongo Santamaría, sipping up the juice of a freshly squeezed watermelon, under the palm trees of a beautiful beach in Port of Spain.

Building on the success of his Fumaca Preta and Conjunto Papa Upa projects, and a stint playing percussion for Altin Gun, Alex Figueira leads his “one-man funk band” motto into uncharted territory. Constantly looking for ways to expand his sonic palette and musical abilities, he takes on the self-imposed challenge of creating a more danceable and decidedly Caribbean approach to jazz. The result, for those familiar with his output, delivers on all fronts.

“Juicy” is groovy, catchy, trippy and leaves you wondering what exactly it is you're listening to. Drop this song at the beginning or end of any session and watch people come to you with a mixture of awe and joy, wondering which record this is. It will equally please casual dancers, obsessive vinyl heads and anybody looking for music that defies classification.

The flip side showcases once again Figueira’s irreverent production style. Imagine Jamaican melodica icon Augustus Pablo, calypso jazz godfather Ciryl Diaz and Brazilian legend Jackson do Pandeiro hanging around barely lit bars of questionable reputation in an unknown city, randomly placed in the extensive Kingston - Salvador da Bahia axis. They meet a group of lifelong skateboarders and receive a stoic sounding piece of advice that lifts their moods significantly: “to learn, you have to fall”. Words repeated incessantly since the dawn of time are delivered here, most likely for the very first time, over a swinging mix of melancholic calypso jazz, traditional forró, roots rockers reggae and guaguancó.

The unlikely mix of Latin American genres gets an unexpected Afro-Cuban twist towards the end and Figueira takes over the mic to speak directly to the listener. “You thought it was instrumental, right? Haha none of that”. Alex explains, “I was here mixing this song and when this part came I thought, what this needs is a little chorus”, emphasizing that it must be a “very tasty” one.

Lastly, he explains the origin of what he is about to sing, revisiting his childhood in Caracas “when I was a kid, the oldest skaters, those who did all the tricks, used to tell us, “to learn, you have to fall””, before the chorus break out, raising the song’s spiciness to its maximum heat reminding you how essential it is to “learn from your mistakes”.

Edition OF 500 copies, Comes with insert and download code.

An album that sounds like The Menahan Street Band playing in a tropical jungle, at dawn, right at the point when the first rays of sunlight penetrate the dark depths of the forest. During the 2022 summer of natural disasters, under an unprecedented heatwave, and haunted by news reports of ancient relics, sunken ships, and hunger stones resurfacing as rivers dried-up all-over Europe, Amsterdam based multi-instrumentalist producer Alex Figueira started to hear uncanny metallic vibrations And eerie melodies of untraceable origins, day and night. He recalls nightmares of winged creatures inside timeless structures of Escherian architectures playing cosmic instruments amidst tropical storms and acid rains. As the visions came more often, his wife reported that he babbled during his sleep about South American demon Yurupari. Soon, Alex found himself in a sleepless state and decided to cleanse the studio, with hallowed rites and the intense burning of Palo Santo. After almost burning the studio down, he turned to his neighbourhood’s most experienced psychic, seeking answers. He was told there were “cosmic entities” trying to manifest a message “too complex for us to understand in this dimension” and the only way he could find peace was to deliver those messages in a decipherable form. It was then he decided to transmute his hallucinations into music, an all-or-nothing cathartic solution.

Alex entered a feverish dream, fuelled by the kaleidoscopic motion of the cosmos, ancient meteor showers, and visions of forgotten interstellar South American gods. He remembers very little of the work, but the outcome is this record. Entirely composed, recorded, produced, and mixed in a frenetic nine-day studio stint.

How the experts describe it:

”Just when outernational vinyl vampires thought they had it all sewn up, the metronomic makeshift magician known as Alex Figueira unravels the entire fabric of your record collection to expose a gaping hole where Punkumbia and Transplant-Tropicalia should be. Reducing an expansive palette of influences to a recipe that tastes wildly exotic but comfortably over-familiar, Alex’s roles as both scavenger and chef, bookend a whole ensemble of other highly adept musical personalities in between. Discover this record NOW, or wait until all your friends (or enemies) recommend it to you later.” Andy Votel (Finders Keepers)

“Incendiary, lysergic takes on South American and Caribbean music from one of the scene's truly authentic and eccentric producers. You can always count on Venezuelan-born, Amsterdam-based, multi-instrumentalist, music-fanatic Alex Figueira to surprise and innovate, whilst consistently keeping it true and real. The former Fumaça Preta drummer & front-man's debut solo album does not disappoint!” Miles Cleret (Soundway)

“The one man band Alex Figueira comes through with some major flavors on this one. Cumbia beats and psychedelic elements with that Latin touch of soul & Funk!” Kenny Dope (Masters at Work)

“I really respect Alex Figueira’s DIY ethos. From running his own little funky recordstore to running his own label and making his own music by playing every instrument himself. I was already a fan of the song “Aprende” which he released on 7 inch and with“Mentallogenic” he takes it a step further in that same vibe. From songs like “La Culebra” making use of a vocoder in his typical latin sound to songs like “Serious” playing with rhythmic changes and topping it off with some synth flavors. A lovely and fun album”. Antal (Rush Hour).

Dominican multi-instrumentalist Alex Malajunta is back on wax with a super hot, up-tempo, original merengue with "Rumbón." Party tested and dancer approved! The B-side is an updated version of the 1980s Ramon Orlando hit "Weo" featuring the merengue legend himself! Excellent call and response on this song for audience engagement.

Alex Puddu is at the top of his game, with a strong set of tight-produced soulful and melodic tracks that bring you back to the late ‘70s / early ‘80s, in the middle of the Jazz-Funk and Boogie music scene. “Discotheque” also hosts the brilliant collaboration with Gene Robinson Jr., singer of the legendary Philadelphia R&B/funk band Breakwater, on three tracks.

Promotional campaign has already started on November 1st with the launch of the official videoclip of the first single “Don’t Hold Back”, also available on the main digital distribution platforms (Spotify, iTunes, Google Play, Amazon Music, etc.).

First time vinyl reissue of this awesome 1978 Latin jazz-funk gem by Venezuelan guitarist Alex Rodríguez, featuring top musicians like Jorge Dalto, Nené Quintero and George Benson's band members Dennis Davis and Stanley Banks, among many others.Originally self-released and distributed in tiny quantities, "Búsqueda" has reached grail status among collectors worldwide. The album contains quite a few heaters for the dance floor, like 'El Mercado', and tight, keys and guitar punctuated fusion jams! (just check the groovy opener 'Cumana'.)Rodríguez is a classical and jazz trained guitarist who in the early days of his career joined some of the best orchestras in Venezuela, including Aldemaro Romero's Onda Nueva. He put together a brief project, La Retreta Mayor, in 1976 which only released one album and would later move to New York where he had the opportunity to record his own songs with renowned musicians of the city at that time, like Víctor Paz, Charlie Camalliari, Sam Burtis, Mario Bauza, Guillermo Edgil, Bernard Purdie, Jorge Dalto, among others.It took him a little more than a year writing the songs and preparing the material for "Busqueda" but in 1978 Alex Rodríguez would return to New York City. Jorge Dalto had spoken with Dennis Davis (drums), Stanley Banks (bass) who played together with George Benson, and Víctor Paz contacted Alex with Ronnie Cuber (saxes), an excellent saxophonist, who later recorded 'Cumana' on his own album "The Eleventh Day Of Aquarius".Before going to the recording studio they did a rehearsal to review the music, and the next day Dalto, Banks, Davis, Cuber and Alex Rodríguez were recording in the CBS studio on 52nd street in Manhattan.The production and mixing of the album were finished in Caracas, at Sono 2000 studios, with the participation of excellent Venezuelan musicians such as Nené Quintero, Lucio Caminiti, Edgar Saume, Carlos Acosta, Alberto Naranjo, Rolando Briceño, Leo and Frank Quintero, among others. The resulting album contains quite a few...

Comes with a free Funky Chicken 45 RPM adapter.

Alexander Flood, one of Australia’s most creative and versatile drummers and bandleaders, forges a new direction in his sound with third outing “Oscillate” – a synthesis of club music and jazz, bringing together Australian & European energies and sonics into an LP that is music for the whole body.

Limited edition for Record Store Day 2017!

This Highly Collectible Lp From 1974 Is A Nonstop Salsa Dura Party Album From Start To Finish, Comparable With Any Of New York's Finest Like Ray Barretto And Willie Colón From The Same Era, But With Its Own Unique Sound And Joyful Vibe. Includes The Anthems 'Mi Nuevo Ritmo' And 'Alma Y Sentimiento/ Soul And Feeling' Recorded At Different Sessions In Colombia And Peru. Presented In Its Original Artwork And Pressed On 180g Vinyl. The Highly Collectible Lp Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) Is A Nonstop Salsa Dura Party Album From Start To Finish, Comparable With Any Of New York's Finest Like Ray Barretto And Willie Colón From The Same Era, But With Its Own Unique Swinging Sound And Bright, Crisp, Joyful Vibe. There Are Plenty Of Straight Up Cuban-Roots Based Salsa Tunes, Plus Some Latin Jazz And Latin Soul And A Bolero. Trumpets, Hand Claps, Loud Cowbell, And Vigorous Vocals All Make For A Great Listen And An Even Better Dance Experience. As The Track 'La Música Brava' Proclaims, "Yo No Quiero Que Pare La Música Brava!" (I Don't Want The Badass Music To Stop!). The Record Is Actually A Patchwork Of Different Recording Sessions Made In Peru And Colombia, Featuring Differing Studio Sound And Musician Lineups. Linares Had Just Returned To His Adopted Home Of Medellín From A Period Spent In Peru And Was Looking For A Record Deal. He Had Brought Master Tapes With Four Songs Recorded In Lima And Was Shopping Them Around In The Hopes Of Securing An Album Contract. Linares Also Cut Some Colombian Sessions Which Feature Roy "Tayrona" Betancourt As Well As Henry Castro And Enrique Fabián. Unfortunately, Neither Discos Fuentes Nor Sonolux Or Codiscos Were Interested. At That Time, Vinyl For Making Records Was Scarce And Over-Priced Due To The Petroleum Crisis And Hence The Labels Were Reluctant To Try Out A New Artist. "There Was Nothing To Be Done. The Only Company That Had Vinyl Stock Was Ins. So I Did The Business With Them Even Though They Didn't Have A Known Name In...

Record Store Day 2020 Release.
Limitation: 500 copies.

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG stuio sound for today's aficionados to enjoy like it was 1969 all over again.

Limited five vinyl LP set. Waziri hails from a small part of Edo State in southern Nigeria called Afemailand, known for being a harmonious region where Muslims and Christians live-and dance-together. And there, as a devout Muslim and an exemplar of religious piety in his community, Waziri's music fuses Etsako/Afemai folk styles with pan-Nigerian highlife and pop to create a sublime vehicle for his Islamic philosophy that gets everyone-Muslims, Christians, whoever-on the dancefloor. This 5 LP set, VOL. 1-5 (1978-1984), focuses on Waziri's illustrious mid-career output-the music he created during the years leading up to and after he made his first hajj. Every song here (some of which you might recognize from The Muslim Highlife) strikes his signature balance of traditional music, highlife, and funk, as he entreats you to stay on the straight and narrow, though there's nothing straight about his beat. Included in the box set is a copy of The Journey So Far, a limited-edition book written and designed by his children, to celebrate Waziri's remarkable life and career.

World Circuit Records has made its reputation by producing some of the finest albums of the past three decades. The label is best known for the Grammy-winning Buena Vista Social Club album (and associated solo artists Ibrahim Ferrer, Omara Portuondo and Rubén González), which is the biggest selling world music album of all time and has contributed to the phenomenal rise in popularity of Cuban, as well as Latin American, music. World Circuit is also home to a number of revered African artists including the late Tony Allen (whose Afrobeat-jazz collaboration with Hugh Masekela ‘Rejoice’ was released to great critical acclaim in March), iconic blues pioneer Ali Farka Touré (whose classic Grammy-winning ‘Talking Timbuktu’ album, recorded with Ry Cooder, brought the label early international acclaim), Malian divas and social activists Oumou Sangaré and Fatoumata Diawara, master kora player Toumani Diabaté, the illustrious Orchestra Baobab and musical iconoclast Cheikh Lô. With further brand new releases planned for 2021 and beyond, World Circuit continues to bring diverse, genre-defying music to a wider audience.

Overview:
Remastered from the original tapes in 2004 for release on World Circuit, 2021 sees this classic album back on vinyl for the first time since its original 1984 release. In 1982, the great Malian singer songwriter and guitarist Ali Farka Touré, then still in the early years of his recording career, teamed up with the brilliant percussionist Hama Sankare. Together, from a base in Ali’s home village of Niafunké they travelled through Northern Mali, refining a collection of new songs. When they were ready to record they followed the River Niger as it wound down through the desert, to the capital city of Bamako. In one afternoon, the great Radio Mali house engineer Boubacar Traore captured these eight superb performances on two microphones: two voices so close it was thought they were double tracked, one guitar (the distinctive Bulgarian acoustic model that Ali treasured) and Hama’s calabash percussion making its first appearance on record. The album, which includes some of Touré’s best loved songs, was released self-titled with no sleeve notes, just an enigmatic group photo on the cover. It became known as the ‘Red’ album due to the colour of its original sleeve. Vinyl and cassette copies of ‘Red’ began to circulate in West Africa, as well as making their way to Ry Cooder in the US and to specialist journalists and DJs in the UK and France. It was popular in Mali and the Tuareg refugee camps in Libya, where it became an influence on the musicians who came together as Tinariwen. On a tip from Toumani Diabaté and with a copy of ‘Red’ in hand, World Circuit’s Anne Hunt travelled to Mali in the mid 80s to find Ali to invite him to record and tour. An appeal was broadcast over Radio Mali, and Ali, who by chance was visiting the capital Bamako, heard it. Thus began Ali’s incredibly successful international career which took him around the world and resulted in the release of eight acclaimed albums including three GRAMMY winning collaborations, with Ry Cooder (Talking Timbuktu) and Toumani Diabaté (Ali & Toumani; In The Heart of the Moo

Another outstanding Jazz fusion release for Dynamite cuts. limited edition 7” release of 2 masterpieces by Alice Babs and Nils Lindberg's Orchestra. Both tracks taken from the “Music With A Jazz Flavour” LP.

Simply two of the finest soul cuts from the early 70s, these recordings have been in demand since they were discovered on the Acid Jazz scene in the 1990s. Since then they have crossed over to numerous scenes and are now a guaranteed in-demand record. Released on a Mainstream label.

Initially best known as John Coltrane's wife, Alice Coltrane released a steady wave of amazing cosmic-jazz records from 1967 to 2004, which feature her virtuosic piano and harp playing. She also recorded an album with Carlos Santana and played with Kenny Clarke, McCoy Tyner and Charlie Haden. 'Turiya Sings' was a self-released cassette, issued in 1982 and a hard-to-find collector's item since then. It features Alice Coltrane on vocals and organ, with string arrangements by Murray Adler. This LP-reissue was newly remastered for optimal sound.

The Allergies are back with another corking new single Dance Now is a super-sweet slice of sista funk that packs the sass to shake your ass. Honey Larochelle just wants to dance now and that's what she's gonna do with The Allergies providing the jams! Throw in some killer sax licks from brass man extraordinaire, Mr Woodnote, and it's almost impossible not to get down to this stylish selection of delectable grooves.

Feel-good funk and hip-hop duo, The Allergies, offer up one last ray of audio sunshine from their smash hit album, Promised Land.
Featuring the unmistakable voice of Bay Area luminary, Lyrics Born, 'Going to The Party' is the ultimate celebration of good times, good friends, and good music. Throwback raps weave wickedly with infectious grooves and a sing-a-long chorus, making this the perfect soundtrack for all your get-togethers and funky affairs. And now, the limited edition vinyl release offers up an extended version, with extra house-party warming verses from L.B!
And, that's not all. As, taking B-Side Banger status on the 45 is 'Utility Man', featuring the dynamite mic prowess of L.A rap hero, Andy Cooper. Riding a super slick double bass groove and neck snapping drums, the L.A. hip-hop legend flips fearsome rap styles, pitching his case as the ultimate go-to gun-for-hire M.C.
And who are we to argue? It's two serious sides of funky rap goodness. Or, as Andy puts it, "The beats bang and the music's timeless". Indeed.

Altin Gün’s breakthrough debut album ‘On’ is being released on vinyl for the first time in the U.S.! This release will have a custom Stoughton vintage style tip-on jacket. It is being pressed on turquoise/white swirl vinyl.

On their debut album, Altin Gun showed what happens when you open the doors between Turkish folk songs and a dirty blend of funk rhythms, wah-wah guitars and analogue organs. Featuring their hit version of “Goca Dünya”!