Latin | Brazil Vinyl 402 Items

Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes. Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12- inch single also features a super groovy remix by Mo’Horizons whi ch, wi t h i t s powe r ful combination of bossa and drum’n’bass rhythms, makes this release a must for tropical-music aficionados. Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

Created in 2006, Setenta, the Latin Soul Band spreads a unique mix over the world scene. For their fifth album Materia Negra, the Paris-based band returns to its roots: hard Latin funk with plenty of Afro-Latin percussion upfront in the mix contrasted with accents of lush vocal harmony and warm, breezy melody. But at its core, there is something essentially darker, rougher and funkier than their previous releases, especially in the guitar and synth work, bluesy minor key arrangements, and lyrical content. It’s essentially a heavier feel with this record, influenced no doubt on the negative side by the current dark times being experienced across the globe due to the pandemic, subsequent economic downturn and the lack of effective government leadership and global solidarity to deal with the crisis. On the positive tip, the inspiring Black Lives Matter movement and international protests against oppressive governments, systemic racism, corporate greed, global warming and environmental exploitation no doubt have something to do with the serious feel of Materia Negra as well. Another crucial aspect to this newfound toughness is what band member and Latin Big Note founder and director Osman Jr. states is the group’s desire to address DJs and dancers who appreciate the rawest songs from Setenta’s previous productions. The desire is to leave their mark on the decks and dance floors of the planet with a genre that “we defend by taking the torch extended by our mentors such as Joe Bataan: Latin Funk!” Setenta’s sound has always been soulful, with plenty of tropical Caribbean roots, but this time there is an even stronger Afro-centric theme and gritty psychedelic R&B angle, clothed in galactic, outer-space trappings, bringing to mind another forerunner, Mandrill, as well as the Afro-Futurist mothership vibe of Parliament-Funkadelic.

Favorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.
Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.
Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he’s based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil.
Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it’s with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

From the underground scene of Bogota, the capital of Colombia, the Meridian Brothers, a project of Eblis Alvarez, a prodigy who is also well known as a guitarist for LOS Piranas and Ondatropica, makes its debut at Okra!! The band is releasing four dance floor-oriented tracks on two 7-inch discs from their new album "cumbia Siglo XXI," which is a departure from the acoustic chamber Latin pop of their previous album and is a fully cumbia-oriented electronic sound in the Meridian Brothers' style that they have been experimenting with for more than 15 years.

Latin Afrobeat band whose debut LP "Bailalo Duro" was released at the end of 2020 has been the talk of the town. The Nkumba System, led by former Romperayo guitarist Guillo Cros, is now available on Okra!! Both sides are from completely different sessions and were not included on the album "Bailalo Duro". Guillo Cros was a guitarist in the band of Cameroonian music veteran Mama Ohanja before joining the Romperayo. The sound that this wandering French guitarist has created in Bogota with Colombian musicians such as John Socha, who was also a bassist in the Romperayo, is a hybrid groove of Afro-Latin and Latin music from the vintage tropical music revival onward that is distinctly different from the Afro-Latin music of the past. While based on traditional Cameroonian and Colombian rhythms, it also incorporates Afrobeat, champeta, and a touch of psychedelicism to create a strong dance sound that was not possible before.

Sérgio Dias, the only remaining original member, led the band until its dissolution in 1978. During this time, they released one more studio album, a live album and an EP. Two unreleased albums were released many years later, the aforementioned O A e o Z and Tecnicolor recorded in 1970 and released in 2000. Here’s a brilliant performance of the band just before they disbanded embracing a more solid prog-rock vibe

A 7-inch record coupling "Tour Of Jamaica", a sample cource of the Japanese hiphop classic "mess/age" by Seiko Ito and Yann Tomita, and one of the selector's must-haves, "Under My Skin", will be released from Think! Records!!

Discos Mas kicks off 2023 with a Banger from LOS Disco Duro with this roboticized double A sider featuring a pair of cover songs that are sure to resonate on the dance floor. Many will recognize the Tito Puente composition “Oye Como Va” from the many versions including perhaps the most popular by Carlos Santana. This version heavily references the original arrangement, replacing the horns with interwoven resonant synth lines and vocoder vocals. The A side‘s “La Inconforme” is a newer song, well known in sonidero circles and will soon be a staple in DJ sets around the world.

"Diré a mi gente" is a 1969 Colombian pop classic with one foot in protest song and the other in acid rock, harsh sounding but also current and sincere. The rawness of the lyrics, the simple and dynamic electrified instrumentation and the contrast with the sweetness and innocence of the adolescent vocals make it reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Los Yetis duet of Norman y Darío.First time vinyl reissue. Liner notes by Mexican DJ and collector Carlos Icaza aka Tropicaza (Dublab / Worldwide FM)."Diré a mi gente" is an essential Colombian album that connects the new generations that grew up after the fall of the socialist block. It's a classic with one foot in protest song and the other in acid rock, harsh sounding but also current, raw and sincere. It's reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Yetis duet of Norman y Darío.It was recorded by the brothers Ana y Jaime Valencia and originally released in 1969 on the local label Discos 15. The messages it conveys are still fresh and the blend of superb songs, arrangements and the candor of the duo's performance proves the relevance and importance of re-listening to this album in an increasingly nihilistic and depoliticized world. The teenage voices enhance the truthfulness and power of conviction of the classic songs of Alí Primera and Daniel Viglietti. The endearing song 'Cuántos momentos', originally recorded by Iván Darío López from Los Yetis-Norman y Darío, stands out on the album. 'Es largo el camino', with more stark lyrics by Nelson Osorio backed by Astudillo's screeching guitar, sends shivers down your spine."Diré a mi gente" reaffirms that the transformative power of music is still there, latent, waiting to be unleashed. Even though the road traveled to get there is sometimes long.

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

It's often a good sign when one of your favorite musicians steps out from beyond the studio walls and past the stage lights to fulfill their own inspired and creative intent. And Caíto Sánchez is not just a favorite musician, but as his lengthy resume as a sideman shows, he's also one of your favorite musicians' favorite musicians, constantly working without fanfare as an essential ingredient in a larger music feast. Sánchez earned his stripes in the 2000s and beyond as a key session player and an integral touring band member, a quiet standout even among many oversized personalities. A dedicated drummer born in Panama and living in New York, Sánchez is quite capable of keeping time for legends like Charles Bradley, Lee Fields, and Brian Jackson, as well as supporting eclectic outfits like the live groups of Quantic, Chico Mann and Midnight Magic. For all the players who have shared a stage or studio with him it comes as no real surprise, and frankly as a long overdue development, that such a unique artistic force is finally stepping into the spotlight.
With this debut single we get a glimpse into Sánchez's creative and artistic personal space, more precisely a multi-instrumental discipline of not only drums, but also bass, guitar and lead voice. It's an intensely intimate recording debut, a fantastic studio concoction born from the heart of its creator, and later fostered and mixed down by the talented hands of Nyct and Daptone veteran Victor Axelrod. The defining result on this initial 7-inch offering are two heavy psychedelic and moody nuggets of rock enespañol, a decidedly new wave of sounds and style that are quite capable of shining on their own.

One of the 'holy grails' of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru under interesting if somewhat unexpected circumstances.Pianist Alfredo "Alfredito" Valdés Jr. (May 31, 1941, Havana - January 23, 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US.Three years later at age 18 Alfredito joined Arsenio Rodríguez and his conjunto; then in 1961 Ray Barretto recruited him for his Charanga La Moderna. Alfredito kept himself very busy, studying music and literature during the day and playing at night with the bands of Tito Puente and Machito as well as Arsenio and Barretto. He was a quick reader and writer of music and displayed an impressive versatility and level of skill on the piano.It was precisely these qualities, combined with random chance, that saw Alfredito become substitute pianist for Machito and His Afro-Cubans for a tour that would take him to Colombia and Peru for a number of engagements in the winter of 1964 and into the new year. While in Lima, several problems arose with the Argentine businessman and tour promoter Mauricio Támara who took the Machito gang to the Peruvian capital but forfeited their pay and left them stranded and penniless to fend for themselves in December of 1964. Machito's brother-in-law and musical director Mario Bauzá had to travel to New York to get money for the return of the entire company; meantime the rest of the musicians had not even enough to eat. They ended up being stranded for a total of 3 months.It is from this embarrassing and depressing turn of events that the enterprising Alfredito Valdés Jr. was able to spin musical gold in his newfound Peruvian home. Saying to his band mates, "I am not going to starve here," Alfredito began searching the streets of Lima for record labels. Thankfully...

One of pianist Ray Pérez's rarest releases and his first on his own label Pyraphon, "They Do It" (1971) was also his final collaboration with Perucho Torcat, a talented sonero who died tragically young in NYC the following year.The record sports an impressively diverse array of rhythms and genres, including the popular Cuban, Puerto Rican and New York sounds that the young Venezuelan salsa groups excelled in at the time (guaguancó, bolero son, son montuno and Latin soul / boogaloo). Other Caribbean modes like calypso (the coast of Venezuela is very near Trinidad and Tobago), pambiche (a slow form of Dominican merengue developed for tourists), and even traditional Venezuelan merengue (a completely different rhythm from the Dominican genre of the same name) appear on the album.Full of classic dance floor burners, the album has been lovingly restored, mastered from the original tapes, fully licensed, with its original artwork intact, preserving the legacy of this great Venezuelan music for today's generation of salsa dura lovers everywhere.The LP is highly collectible and is now being reissued by Vampisoul for the first time.

From a young age, La Perla, Callao-born guitarist Oswaldo "Mita" Barreto was a fan of Cuban artists like Celina y Reutilio and Los Compadres, whose records were a staple in the port city homes. He soon learned to distinguish the sound of the Cuban tres on these records (the chordophone from rural areas of Cuba). At the age of 18, he had already mastered the instrument, although he had never seen a Cuban musician play one live until that point.At the beginning of 1969 (according to the record company's archives), his fame led him to record his first 45 RPM singles for the MAG label, which were compiled in an LP by the end of the year entitled "Arecibo", after a song dedicated to the Puerto Rican city of the same name. For these recordings he was accompanied by a group of musician friends, all linked to the tropical music scene in Callao, Peru.The album opens with two Cuban guarachas from the 1950s: 'Mango mangüé' by El Gran Fellove, whose compositions were popularized across the Americas thanks to the voice of Celia Cruz and the Sonora Matancera; and 'El yoyo' by Antonio Sánchez Reyes, another international hit performed by Cortijo y su Combo. Both songs were recorded by Mita in May 1969.The album also includes four songs from the repertoire of Puerto Rican musician Joe Cuba: 'Arecibo', 'No coman cuento', 'Oriza Oco' and 'Con mi mambo', where Mita replaced the sound of the vibraphone with the Cuban tres, an innovation that gave the group its distinctive sound.Three songs by Oswaldo Barreto "Mita" were also included on the album: the memorable 'Mita descarga', the incredibly fast 'Descarga en botella y güiro' ("del Perú a Puerto Rico cantamos") and the intimate 'No aguanto más', all with inspired plucking by the tres player from La Perla.The release of the LP at the end of 1969, established Mita's career, and he continued to record on MAG and other labels in the following years, although he never released another album. First time reissue.

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item.Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.First time reissue.Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound.Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today.At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records.In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and...

"Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual.The record is high on collectors' want lists for many reasons: excellent sound quality, diverse and highly danceable repertoire infusing its grooves, and the inclusion of the Cuban genres of descarga and charanga. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada.First time reissue."Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section.The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga.There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are 'Ocho días' and 'Am...

First time reissue! The very first LP released by Lima pianist Alfredo Linares under his own name is brimming with tropical hits from the mid-sixties ncluding a Frank Sinatra classic) and was aimed to bring listeners up to date with the tropical sound developments in the States, to which Linares added touches of jazz."El Pito" comprises guarachas, guaguancós, jazzy descargas and, obviously, contagious boogaloos, including an outstanding version of the J. Sabater anthem.By the time he recorded his version of 'El Pito' in 1966, Alfredo was already an accomplished musician. He studied music in parallel to his schooling, attending the Conservatoire in the afternoons and soon went on to lead Alfredito Linares y su Salsa All Stars, a continuation of the orchestra founded by his father.In 1966 the song 'El Pito' became a hit in the United States, which is why Distribuidora Peruana Sudamericana, associated with MAG, released the single as well as Joe de Cuba's sextet LP. MAG's next step was to suggest Alfredo Linares record the song, which he did in August 1966, with lead vocals by Raul Ducós Domínguez from Chalaco and backing vocals by Tony de Cuba, Benny del Solar and Rolo Bernal. The lyrics include references to the effects of marijuana that Ducós improvised during the recording in just one take. Charlie Palomares plays the vibraphone, accompanied by "Negro" Santos on bass and "Cheverin" Miguel Villanueva on the bongos. It is one of the few songs on the album where there are no trumpets.'Strangers in the Night' topped the Billboard charts in 1966, which was a powerful reason for Manuel Guerrero to suggest including the song. This cover version features brass instruments and the participation of Peruvian crooner Lalo Bisbal.The first of the two guarachas on the album, 'Qué mala fue esa mujer' is a composition by Chivirico Dávila, a mythical and globetrotting tropical singer who lived in Lima at different times. While the Peruvian singer Benny del Solar is the lead vocalist on the secon...

HIGHLIGHTS:1967 descargas album by Peruvian percussionist Coco Lagos y Sus Orates, featuring Alfredo Linares, Charlie Palomares, Otto de Rojas, Mario Allison_This album was recorded following the success of the descarga sessions released by New York label Alegre Records.It includes a version of Cal Tjader's 'Mamblues' and 'Brava pachanga', an original by the Father of Boogaloo, Joe Cuba, among many other stand-out tracks. Quality official reissue on 180g vinyl after years unavailable. Includes insert with liner notes.Details:1966 was a prolific year for the MAG record label. The microphones were constantly on at the label's studios, recording timeless hits by Los Demonios de Corocochay, Betico Salas, Cholo Berrocal, Mario Allison, Alfredo Linares, Carlos Muñoz and Los Pacharacos, just to mention the most successful ones. The percussion playing by 29-year-old Peruvian Coco Lagos stands out on a number of these recordings.Coco continued his early career, and he played the conga drums for artists who passed through Lima, accompanying Pérez Prado, Oréfiche and Chano Scotty, among others. In the late 50s, he started working as a regular musician in the recently founded record company MAG, alongside musicians such as Ñiko Estrada, Mario Allison, Lucho Macedo...After taking part in numerous recordings, in 1966 the director of the MAG label, Manuel Guerrero, asked him to make a series of recordings for an LP that would be released under the name Coco Lagos y sus Orates. According to Coco's statements to the press, the orchestra included musicians from the label such as pianist Alfredo Linares; vibraphonists Carlos "Charlie" Palomares and Otto de Rojas; timbalero Mario Allison; alto sax player Mario Escobar; Chilean trumpeter Víctor "Duraznito" Durand; double bass player Santiago Colón; and vocalists Benny del Solar, Kiko Fuentes and César Gonzales, as well as other backing singers.On July 21, 1966, the recording kicked off with 'Tumba Coco', a descarga composed by Coco and Manu...

Wganda Kenya was a group formed by Discos Fuentes under the idea of developing an African and Caribbean sound in order to appeal to the Costeño Colombian market and also inject a little international exoticism into the label. - This 1976 album has become a collector's favorite waiting to be reissued, and it's not hard to understand why since it's full of so many Afro-Funk, Congolese rumba and Caribbean-flavored dance floor burners. - Special edition reissue containing two non-album bonus tracks from the same period that appeared on 45s and various artist compilations, as well as an insert with liner notes. Pressed on 180g vinyl. - First time reissue.More Info!According to Fruko, Wganda Kenya was formed at the request of José María Fuentes in 1974. Fuentes came to Fruko with the proposal to assemble a group with an African and Caribbean sound in order to appeal to the Costeño Colombian market and also inject a little international exoticism into the label.Fuentes wanted to create their own domestic version of the rare (and often unidentified) African and Antillean records played on the Colombian coast in the outdoor picó sound systems in cities like Barranquilla and Cartagena, as well as opening up their markets to international tastes.Fruko was happy to comply, becoming the bandleader and bassist while his pianist from Los Tesos, Luis "Tomate" Mesa, was recruited to play various electronic keyboards. Venezuelan singer Joe Rodríguez was tapped to play drums, Mariano Sepúlveda of Afrosound played guitar, José "Cholo" Gallardo of Los Diplomáticos played saxophone and several Tesos manned the percussion section. Various Fuentes regulars became the vocalists including Jaime Galé, Luis Carlos, and Joe Arroyo.In keeping with the exoticism and façade of foreignness, the vocalists often sang in made-up languages that approximated Indigenous Colombian, Haitian Creole, Papiamento from the Dutch Caribbean or Nigerian Yoruba; at other times they invented Spanish lyrics that mimicked th...

Impossible Rare 1968 Album By An Enigmatic And Uncredited Studio Group That Brought Together Some Of The Best Artists Of Mag (Melcochita, Coco Lagos, Rafael Rios Of Los Guajiros_) Under The Direction Of Manuel Antonio Guerrero, Owner Of The Peruvian Label.The Record Comprises Cumbias And Guarachas Across 9 Songs And 3 Instrumental Tracks, Most Of Them Previously Recorded By Other Peruvian Artists Such As Los Destellos, Pedro Miguel Y Sus Maracaibos Or Melcochita Y Su Conjunto. Reissued For The First Time. -Details:Cuban And Colombian Rhythms Form "Tropical Guitars" (Mag, 1968), The First Lp Of The Silvestre Montez Y Sus Guantanameros Orchestra, A Group Whose Conductor And Members, Despite Their Name, Have No Direct Relationship With Any Caribbean Country, And Whose Conception Illustrates Us About The Particular Way In Which The Peruvian Record Company Mag Was Managed.Manuel Antonio Guerrero (Founder And Owner Of Mag) Made Significant Profits With The First Albums Published, Mostly Focused On Música Criolla. He Soon Encouraged His Friend Lucho Macedo, Director Of Lima's Favorite Sonora, To Record The Main Hits Of Sonora Matancera, Reinterpretations With Innovative Arrangements That Exceeded Market Demands. Thus, They Continued To Repeat The Formula Of Releasing Songs "In The Style Of", And Soon They Published Hits Of Tango, Cuplé, Pasodobles, Ecuadorian, Argentine And Paraguayan Music, Reinterpreted By Local Musicians.Tropical Music Records Were Always The Label's Favourites, Especially Because Guerrero Knew Cuban Music Well Due To His Visits To The Island When He Was Young. In Addition, The Record Company Had An In-House Orchestra, Called Mag All Stars, Always Ready To Experiment And Improvise On New Recordings. Stars Such As Joe Di Roma, Coco Lagos, Mario Allison And Pablo Villanueva "Melcochita", Among Others, Were At Some Point Part Of This Orchestra, Which Had Different Line-Ups, Who Accompanied, With The Same Skills, Singers Of New Wave, Huayno, Rock, Boleros Or International...

Highlightsaustin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.The Result Is A Fascinating Temporal Exploration Of Two Stunning Faces Of Tropical Psychedelia Converging.The Album Features Legendary Peruvian Guitarist/Composer Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.Description"Chicha Summit" Is The Newest Album By Austin-Based Future-Cumbia Group Money Chicha. The Album Features Legendary Peruvian Guitarist/Composer Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion. The Album Explores The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And Money Chicha's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions. The Result Is A Fascinating Temporal Exploration Of Two Stunning Faces Of Tropical Psychedelia Converging.The Album Itself Is Divided Between Two Sessions, Each Representing A Different Side Of The "Chicha Summit" Mountain. Side A Was Recorded During A Long Weekend In Which Jose Carballo And Money Chicha Convened For A Rehearsal, Recording Session, Workshop, And Concert. The Event Was Captured Altogether In A Single Room By Money Chicha Guitarist Beto Martinez At His Lechouse Music Studio In Buda Texas And Recorded Directly To Tape Via His Vintage Tascam 388. Subsequent Sessions Were Recorded By Greg Gonzalez At His Own The Electric Basecamp Studio And Vocalist Kiko Villamizar's Wepa Estudios To Capture Additional Percussion, Vocals, And Overdubs. The Result Is A Tribute To The Highly Influential And Much-Beloved Music Of Peru Performed With Jose Carballo, One Of The Genre's Greatest Performers And Composers And The Man Responsible For Introducing His Trad...

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...

Highlights"A Buenaventura" Is Surely One Of Julian Y Su Combo's Best Albums, A Sought-After Collector's Record That Is Also Popular With Tropical DJs. We Have Added Two Bonus Tracks From 1976, 'Salsa Y Bembé' And 'Colorin Colorao' That Were Originally A 45 Single, Resulting A Winning Combination Of Familiar And Obscure Tunes Of Rich Sonic Variety. Presented In Its Original Artwork And Pressed On 180g Vinyl. Recommended By DJ Bongohead Of Peace & Rhythm Descriptionduring A 20-Year Period Julián Y Su Combo Released 8 Lps On Almost As Many Different Companies And "A Buenaventura" Was Their Only Record With Medellín-Based Label Indústria Fonográfica Metrópoli (Later Reissued By Ins On Their Fabuloso Imprint As "Descarga Salsa Y Boogaloo"). Julián Angulo Described The Combo's Sound As Afroantillano, Combining Cuban, New Y Ork Latin, And Puerto Rican Elements With Colombia's Own Tropical Costeño Traditions. The Group's Swinging, Jazzy Arrangements Were Distinguished By Angulo's Prominent Rhythm Guitar, A Hot Rhythm Section, And The Potent Brass Lineup Of Two Saxophones And A Trumpet (Much Like Cortijo Y Su Combo) But With The Occasional Addition Of A Clarinet Or Flute (For Extra Cuban Flavor). Singer José Arboleda Lends An Earthy, Joyful Afro-Colombian Sound To The Vocals And The Entire Unit Is Held Together By A Combination Of His Fantastic Voice And Super-Tight, Swinging Ensemble Playing With The Occasional Expert Instrumental Solo At Just The Right Interval. "A Buenaventura" Is A Sought-After Collector's Record That Is Popular With DJs Not Only For The Power ('Salsa Brava' All The Way) And Diversity Of Its Sound (With Hot Dance Genres That Range From Guaracha, Son Montuno And Guaguancó To Boogaloo And Descarga, As Well As Cumbia And Currulao) But Also For How Well It Was Arranged, Engineered And Recorded, Making It Both A Pleasurable Listening Experience And A Dance Floor Killer. Though The Credits Do Not List A Year, Most Likely It Was Released In The Late 1960s Or Early 1970s...

The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme s...

This cool release
compiles some of the best tunes in Creole boogaloo. The charm
of the restored sound of these old 7-inches is only matched by
the ardor of the interpretations. Like no music genre ever
before, boogaloo brought together African Americans and
Latinos, who already attended the same parties, but danced to
different tunes. Indeed, boogaloo overtook the West Indies with
amplified keyboards and electrified guitars, and this new wave
knocked out hierarchy and habits.

Following the huge success of the first volume (three pressings!) in 2009, the long-awaited 'Cajun/Zydeco Vol. 2' is finally here! The long wait was not due to a lack of inspiration, but rather to the creator's diligent research, and as such this awesome second volume has taken five years to come together. The result is a rich compilation of rare gems, some of which had never been pressed onto vinyl since their original release! The LP represents a trip into the South of Louisiana, where this music -a blend of worlds and traditions- took shape at the beginning of the 20th century. It's a selection of tracks from the past, featuring local legends (Nathan Abshire) and unknown craftsmen (Jimmy Peters), who all, in their own way, have left their indelible mark. Waltz, two-step, one-step, blues, the record pays tribute to the unique blend of European dances with African rhythms. Each track has been weighed up for its historical as well as for its musical interest. A combination of melodeon and, for the Zydeco side, button accordion, triangle, rub board and fiddles. This LP comes with sleeve notes and a magnificent poster from one of the masters of Cajun fiddle, Dennis McGhee. Presented in a silk screened cover and limited to 1.000 copies.

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

Wilfred Trevor Woodley aka Woods (1934 - 2010) is certainly one of the best kept secrets in Caribbean jazz. A pianist composer from Point Fortin, Trinidad & Tobago, Woods was a fascinating man who lived an incredible life traveling to more than 70 countries. Even though he composed hundreds of songs he had never released an official album. Woods was a man who lived a fearless life. Even when faced with life's adversities he dealt with them with such courage and calmness that all who knew him could only remember him with admiration and respect. In july 1990 he was involved in an accident where a truck crushed one os his legs. facing the doctors, he replied with aplomb: "As long as I can play the pinao, everything is fine". This EP is the first project of a series to pay a tribute to his legend and to keep his music alive.