Heavenly Sweetness HHV Records 50 Items

Limited to 1000 copies!

To celebrate the 15th birthday of our first ever vinyl reissue, we did a new edition of this spiritual Jazz classic on cult label Srata East.

New vinyl mastering and lacquers done by the great Frank Merritt at The Carvery (London).
Mastered to and from 1/4” tape for added warmth and character.
Tape layback to disc; direct analogue lacquer cut from 1/4” tape using pure analogue signal path. Studer A80 preview to Neumann VMS70.

180g black vinyl.

New scans of the original artwork . Exact replica of the original cover.
Printed on deluxe Tip-on sleeve. Heavy cardboard;

The definitive edition of this incredible album by drummer John Betsch and his Society.
A must have for any spiritual jazz fan.

All DJs have their own way of building their set. Some pick records entirely on the spur of the moment and trust their instincts, others write down a precise list on a piece of paper and never stray from it; the set is a kitchen where the DJ is the Chef. It doesn't matter how it’s done, as long as it's done properly and enjoyed by everyone, that's what matters the most.

I think I'm combining these two methods when building my set, except that instead of a meal, I'm talking about a story. A story that crosses styles, countries, atmospheres, and that I tell in a different way every night. With, however, a method that I respect.

Between the new stuff I get from the labels, the stuff that friends and fans send me, and what I dig myself, I have enough to make a different set from A to Z, every night! However, before these treats can delight the dancefloor, each of them has to go through a quite precise process.

The first step is to digitalize my tracks in high quality. I can play several dates in a week, so carrying boxes of records to places that are sometimes far apart is out of the question. The WAV format has become my best friend. With it, I can edit some tracks, cut parts or lengthen others. Sometimes, an interminable intro is not necessary, while a furious break needs to repeat itself a bit longer.

Then, the second step consists in classifying the tracks by genre and origin. A real library is thus created where each title has its own place. Accessible (almost) without searching. I know all too well the experience of getting lost in one's own collection, trying to read the spines, pulling out a record halfway from its shelf only to put it back in it immediately. No, that's not the one... where did I put that other one then?...

From these folders I then draw the titles which will be part of the third stage: the selection for the DJ set. Nothing is set in stone, tracks come and go on a regular basis. I have year-round squatters as well as residents passing through for a few weeks. Or days. It is from there that I begin to elaborate the story that I will be telling for three or four hours.

The beginning of the set is always the same. Welcoming the dancers gently. Letting them take their marks with a musical aperitif of tracks at 80/90 BPM, something that many DJs don’t do or no longer do.

The end is always the same. Parting with the dancers gently. Letting them go down peacefully. Their evening with me is over, but it is perhaps another one, more intimate, that will be starting for them.

In between these two moments, it’s all about the story itself, with its cumbia, reggae, hip hop, lusophone music, funk, soul-jazz twists... A rich story which tells itself in the mood of the moment and back on the dance floor. Depending on the general atmosphere, the rise in musical power can start after an hour and thirty minutes of preliminaries, or it can happen only after 45 minutes. The climax is reached with the Afro-house part, a furious passage that makes overexcited music from Zimbabwe and punk music from South Africa confront each other along a total experimentation with tracks so disturbing that they put the dancers' legs out of sync. This represents a moment of rupture in the narrative, its only purpose being to help reconnect with the dance floor as soon as it is over and to re-launch the story with even greater interest.

Those who have already come to see my DJ set know this: each of my stories is unique.

I hope you’ll enjoy the one I’m telling you in this third volume.

Pura Vida

Guts

This Edition is limited to 500 copies and shared with Guts. 350 are available via HHV and 150 via Guts.

"All DJs have their own way of building their set. Some pick records entirely on the spur of the moment and trust their instincts, others write down a precise list on a piece of paper and never stray from it; the set is a kitchen where the DJ is the Chef. It doesn't matter how it’s done, as long as it's done properly and enjoyed by everyone, that's what matters the most.

I think I'm combining these two methods when building my set, except that instead of a meal, I'm talking about a story. A story that crosses styles, countries, atmospheres, and that I tell in a different way every night. With, however, a method that I respect.

Between the new stuff I get from the labels, the stuff that friends and fans send me, and what I dig myself, I have enough to make a different set from A to Z, every night! However, before these treats can delight the dancefloor, each of them has to go through a quite precise process.

The first step is to digitalize my tracks in high quality. I can play several dates in a week, so carrying boxes of records to places that are sometimes far apart is out of the question. The WAV format has become my best friend. With it, I can edit some tracks, cut parts or lengthen others. Sometimes, an interminable intro is not necessary, while a furious break needs to repeat itself a bit longer.

Then, the second step consists in classifying the tracks by genre and origin. A real library is thus created where each title has its own place. Accessible (almost) without searching. I know all too well the experience of getting lost in one's own collection, trying to read the spines, pulling out a record halfway from its shelf only to put it back in it immediately. No, that's not the one... where did I put that other one then?...

From these folders I then draw the titles which will be part of the third stage: the selection for the DJ set. Nothing is set in stone, tracks come and go on a regular basis. I have year-round squatters as well as residents passing through for a few weeks. Or days. It is from there that I begin to elaborate the story that I will be telling for three or four hours.

The beginning of the set is always the same. Welcoming the dancers gently. Letting them take their marks with a musical apéritif of tracks at 80/90 BPM, something that many DJs don’t do or no longer do.

The end is always the same. Parting with the dancers gently. Letting them go down peacefully. Their evening with me is over, but it is perhaps another one, more intimate, that will be starting for them.

In between these two moments, it’s all about the story itself, with its cumbia, reggae, hip hop, lusophone music, funk, soul-jazz twists... A rich story which tells itself in the mood of the moment and back on the dance floor. Depending on the general atmosphere, the rise in musical power can start after an hour and thirty minutes of preliminaries, or it can happen only after 45 minutes. The climax is reached with the Afro-house part, a furious passage that makes overexcited music from Zimbabwe and punk music from South Africa confront each other along a total experimentation with tracks so disturbing that they put the dancers' legs out of sync. This represents a moment of rupture in the narrative, its only purpose being to help reconnect with the dance floor as soon as it is over and to re-launch the story with even greater interest.

Those who have already come to see my DJ set know this: each of my stories is unique.

I hope you’ll enjoy the one I’m telling you in this third volume.

Pura Vida

Guts"

Unavailable for years, the reissue of Kassav' legendary first album released for the RSD. Founding album of the modernization of Guadeloupe music, it will give birth a few years later to the global zouk phenomenon. This version gathers for the first time the original version as the American version of the album (4 different tracks).

The profile of French producer Guts has grown steadily in recent years and he is now considered to be one of the leading producers in France and a recognised name on the European beats scene. ‘Hip Hop After All’ features an array of stellar MCs and vocalists, including Grand Puba, Masta Ace and Cody Chestnutt. Double LP gatefold sleeve with insert & download card, exclusive content for the download card.

His hit "Brand New Revolution" was played by many radio stations worldwide and was used in Grand Theft Auto V. His compilation series ‘Beach Diggin' is now a reference point for summer and quality music in general.

After three instrumental albums, Guts decided to come back to his Hip Hop roots (he created the French rap band Alliance Ethnik in the 90's) and invited quality MCs and singers to join him in the studio. You can find on this album, Hip Hop legends such as Grand Puba, Masta Ace, Bob Power, Rah Digga, plus singers such as Cody Chestnutt, Patrice and a batch of new talent - Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey and Dillon Cooper.

Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.

A continuation? Above The Laws isn't quite that.

Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.

Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.

The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.

Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.

But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.

The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.

Line Up: Ludivine Issambourg: flutes / Swaeli Mbappe : bass / Michael Lecoq : keys / Yoann Serra: Drums / Vincent Aubert: Trombone / Lucas St Cricq, Sylvain Fetis : Saxophones
feat: Brian Jackson, Nils Landgren, Wolfgang Valbrun, Laurent de Wilde, Chassol, Eric Legnini, Céline Bonacina.

Following the release of their acclaimed album “Victoire de la Musique”
(Supported by Craig
Richard, Gilles Peterson, François K, Hunee, Toshio Matsuura, FIP and more...)
come 2 new
remixes on vinyl!
After their electrifying collaboration on "Parribean Disco
" Dimitri From Paris is back in the driver’s
seat with Cotonete’s "O Céu E Preto" featuring Gystere. This time partnering with French deep
house pioneer DJ Deep for a sizzling remix from Cotonete lauded album "Victoire de la Musique”.
The remix is a house
music masterpiece, featuring an infuriatingly catchy bassline, playful
percussions, swirling keyboards, and tantalizing guitar licks that elevate Gystere’s mesmerizing
vocal loops. The buildup peaks with irresistible horn riffs, delivering a straight
-
up ho
use banger.
On Side B, the refined deep house and techno duo of DJ Deep and Romain Poncet present a
streamlined, dubbier, and club
-
ready version that’s perfect for late
-
night sessions.
Don't miss out on this limited edition gem!

David Walters is an explorer. Not just one of those who show off on the screen. Like his Grandfather, David has not hesitated to cross seas or oceans to fulfil his desires fit. His mother's father left the Caribbean island of St Kitts for New York and started a family in London with a woman he met on the boat. David, on the other hand, travelled from his home in Marseille to Sheffield, London and Manchester to record this EP and to give a new twist to his career by musically extending the link that binds him to his grandfather, and more generally to his ancestors. "In Africa and its diasporas, as in the world for those who know how to see them, the elders are always at our side", he says in a soft voice.
"Music comes first".

It was on Guts' advice that David Walters changed his working habits. He and the French producer/beatmaker and DJ know each other well. "He offered to accompany me artistically on my new album, to be my third eye, or my third ear," says David. "He is someone I respect for his work, his discretion and his questioning, his desire to never repeat himself" he explains. "We often exchange ideas. We don't necessarily always agree, but whatever we think of each other, it's the music that comes first.” So when Guts told him about Tom Excell, David went for it. He headed for Sheffield where Excell, the producer, guitarist and percussionist had his own studio. The contact was direct. "We took the instruments and played like children", remembers David, still under the spell of the encounter. "Tom is part of the new English scene that combines jazz, soul, hip-hop and world grooves. He’s associated, as a musician, producer and remixer with Nubiyan Twist, Onipa, K.O.G., Me & My Friends and so many others. He has the freshness of the English sound. I like his approach. Over there, people have grown up with The Beatles, The Specials, Depeche Mode, The Clash or Apache Indian playing in the background in supermarkets. They have a different musical culture, a different musical culture that is part of the décor regardless of the genre, and that's a game changer," David says excitedly. "If people like it, they make room for you right away. I'm a fan".

"More personal and more open"
In three sessions at Tom Excell and David built these 4 tracks. “No One” which opens this E.P., was the first to be finalised. As always with David, everything is played - the Rhodes as well as the percussion, the bass as well as the drums - before being sampled. Even the electronic rhythms are sampled on the hi-hat or cymbal. Hence this organic sound. ”No One is a word of advice, an incitement to trust yourself, to listen to no one but your own instinct. This is something the singer already defended more than fifteen years ago on “Awa” the song that gave its name to his first album. "No One” is now more peaceful and serene than “Awa” was," he says. “Bow Down”, initiated with the Lyon-based producer Patchworks, is reinvented here in a lighter version. ‘It's a nod to New Orleans and the Afro-descendants, those men and women who kept their heads up despite slavery and mistreatment," says David, who recorded and produced the Nola is Calling project (2019) in a colonial house in New Orleans he transformed into a studio. The expression "Bow Down" is both a tribute to the Amerindians who came to the aid of African slaves and an affirmation of strength and resilience. Hurricane Kathrina is still on everyone's mind. As David explains, “Yemaja is the Cuban goddess of the sea. In Africa, she is called Yemoja”. There is no doubt that the sea is David's element. “The sea acts on me like a sort of great "reset". It's a place where you can also lose yourself," he says. “Baby Love”, the last track, echoes “Baby Go” from the album
Nocturne (2021), an opus recorded with cellist Vincent Segal, kora master Ballaké Sissoko and percussionist Roger Raspail. "In the end, these four tracks (+ a disco edit of “No One” by the American producer Captain Planet) are put together like a rebus, to tell a story that makes sense to me: Nobody is going to fall apart, thanks to Yemaja", David sums up with a warmth and smile in his voice.
David Walters is a true explorer, and doesn't intend to stop there. Future sessions are already scheduled in Tom Excell's studio in order to finalise a full length album which is due to be released early in 2023.

For the fourth edition, the duo left behind their perennial favorite, Trinidad and Tobago, and headed for Jamaica and Brazil, trekked across South America to Peru, navigated across the Pacific to Japan, down to Australia, and then set sail for South Africa, went overland up to Tunisia, and finally put down their bags in France.
Along their perambulations around the globe, they handpicked a number of rare and often unique pearls that they found, at times in damaged shells, at others barely surviving in abused, large record collections. Guts and Mambo patiently selected these tracks with the intent of creating a vinyl barrier reef, an atoll of sound safe from the rising tide of noise pollution that the music industry spews forth every summer.

The 2016 edition once again treats listeners to an incredible diversity of styles and ambiences, ranging from jazz-funk to samba-rock, disco, soul, and reggae. Because in the end, the geographic origin matters little. Even if the golden triangle of Brazil, Jamaica and Trinidad & Tobago remains the largest supplier, “Beach Diggin’” is above all a way of being, a way of living the moment and life in general to the fullest. Permanent coolitude on the BPM, fast or slow, an epicureanism that is equally at ease whether its produced with a sense of Amazonian luxuriousness or the sparse comfort of a deserted beach, a reserve of a few degrees of heat to put on the turntable when it gets cold outside.
So, it’s not surprising that tracks from Eastern Europe, North Africa, or the US have quickly received their stamp of approval. In this fourth compilation, just as in the previous three, the rule remains: “Beach Diggin’” still is a state of mind.

A singularly talented man with an extraordinary voice and groove, an impassioned artist who has absorbed music influences of the most varied styles since a very young age: from Jazz, to Latin and Blues and beyond. For example, you can hear Marvin Gaye in the track “Why ft. Ra- chel Claudio, Erik Truffaz & Valérie Delgado”, J Dilla in his cover of Al Green’s “Simply Beautiful”, or Bobby McFerrin on the track “Good Morning”.

A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today.

“The re-release series of original Ethiopian classic vinyl continues — the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978. The liner notes: ‘Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Anaïs Prosaïc).’ Such were the first — informed and enthusiastic — opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media’s feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clichés and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed’s life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country’s biggest stars, opening the door to Ethiopian music to Western audiences.” — Francis Falceto

The origin of the album immediately marks its surprising character: the result of passionate discussions with winemaker Stéphane Regnault, who asked him to illustrate four of his cuvées. Recorded at La Frette studio, a rock lair rather than a jazz one (Nick Cave, Arctic Monkeys), "No Pain/No Champagne" represents a departure for Léon Phal.

A spearhead of a futuristic jazz born in the excitement of the 2010s, the Champagne native here abandons the ultra-modernity of previous works to infuse his jazz with a vintage palette inherited from Ahmad Jamal or the Headhunters, a nearly mythical era whose grooves he freely reinterprets. In all of it, he seeks out the oddity, the gimmick that catches the ear and steers jazz in a different direction—here towards a nervy hip-hop with Oddisee, soulful lyricism with Wolfgang Valbrun, or a worn house on “One Step Further.” It's a way to move away from rigid orthodoxy, avoiding confinement to any single style, confronting a certain tradition with the codes of rap, electro, or modern treatments of vintage groove. “Listening to Stéphane describe what each wine represented, their strengths and peculiarities, what made them unique, created a sort of musical universe within me,” explains the author. And so it is: in these complex but balanced assemblages reminiscent of the wines he enhances, the saxophonist plays with traditional jazz modes (Dorian, Mixolydian...) to approach the aromas or colors, seeking his cool and distinguished flavors in unexpected variations. By elevating the vocabulary and passion of the winemaker, he gives birth to a lush yet airy album, supported by a wealth of clear references and proposals.

Written impulsively during discussions with Stéphane Regnault, what was originally a stylistic exercise becomes, under this agile writing, a splendid perspective on the heritage with which the saxophonist grew up. A groove from yesterday in a modern setting, a clear line shaken by the history of music, by feeling, and by technology. And undoubtedly also a bit by the Champagne...

Limited to 1000 copies worldwide, only available with GUTS and HHV.

In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)

From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)

Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)

On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)

Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet.

Cover with beginning of seam split on top spine.

Finally ! After 6 albums published in 12 years, the poet Anthony Joseph pays tribute to Trinidad with this album recorded on his native island. A sunny trip with the local stars of the island, from steel drum to calypso. Ella Andall, singer of the deities Orishas, "Boogsie" Sharp and his metallic harmonies or 3 Canal and Brother Resistance with big phrasings.

Recorded facing the ocean, Anthony Joseph drew his inspiration from his roots, his island.
An album in the image of his poet.

At the vanguard of a new unbridled French jazz scene, and attracted to the rich ramifications of modern grooves, the Florian Pellissier Quintet has since its inception in 2002 expressed an attraction for far-flung pursuits; though discernible on previous albums today this fascination is front and center of Bijou Voyou Caillou, the quintet’s fourth album. Featuring Arthur H, Anthony Joseph, Roger Raspail, Nawer. TIP!!!

Following the reissue of his cult album “Ti jan pou vélo”, Heavenly Sweetness decided to continue the collaboration with Edmony Krater and record a new album! The first one in 30 years! As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the Gwoka music of Guadeloupe and to feed it with different influences, from Jazz to Reggae.

‘Caribbean Roots’ represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity.

Here it is, the all new Guts album with guest appearances by Tanya Morgan, Leroy Thomas, Lorine Chia and more. Essential pick!

Florian Pellissier, keyboard player of Guts' live band, comes around with a stunning sophomore album via Heavenly Sweetness, including cover versions of Jef Gilson & Wayne Shorter tracks.

The Ethio Jazz album by Mulatu Astatqé is a jewel of the modern Ethiopian music and a mythical album, since the beginning of Ethiopian music reissues. An incredibly groovy Ethiopian record, originally from 1969-1972. Amazing orchestral 'Ethio-groove' filled with US soul, jazz, sometimes Latin and the deepest Eastern rhythms, even including some great nasty and dirty fuzz guitars. A true gem of Ethiopian modern instrumental music, which illustrates perfectly this symbiosis of strong rhythms and quality arrangements of subtle yet deep Ethiopian melodies. A must for all '60s/'70s collectors! In the Ethiopian musical landscape, Mulatu Astatke is a unique musician, composer, arranger. His real contribution consists in his action for instrumental music, in a country where orchestral traditions doesn't exist. For the last 30 years, he is the leading head of the Ethiopian musical scene. First vinyl reissue and definitely one of the most important Ethiopian music albums.

Cover has slight ring wear.

Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.

A continuation? Above The Laws isn't quite that.

Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.

Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.

The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.

Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.

But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.

The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.

Line Up: Ludivine Issambourg: flutes / Swaeli Mbappe : bass / Michael Lecoq : keys / Yoann Serra: Drums / Vincent Aubert: Trombone / Lucas St Cricq, Sylvain Fetis : Saxophones
feat: Brian Jackson, Nils Landgren, Wolfgang Valbrun, Laurent de Wilde, Chassol, Eric Legnini, Céline Bonacina.

Record is close to VG+.

Cover has one ding bottom right corner.

Cover close to NM