Latin | Brazil Vinyl 390 Items

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-'70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago's west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal '79, the most impassioned, singular moments of which are compiled here.

HIGHLIGHTS Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band.The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.First time vinyl reissue.DESCRIPTIONRare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes.This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany.First time vinyl reissue.

Russell 'Konkie' Halmeyer was born and raised on the small island of Curaçao, located 60 kilometers off the coast of Venezuela. Konkie is a percussionist who specializes in the steelpan, a percussion instrument originating from Trinidad and Tobago that is made out of an industrial drum. He started playing at the age of 12. Throughout his career, he has explored the boundaries of the steelpan and associated genres. He has become one of the most innovative pannists in the Caribbean, taking the steel pan out of its context of steel bands, carnival and calypsos. In the 1990s Konkie toured through the States, where he performed frequently, merging steel band sounds with jazz.

In Curaçao, where he is considered the most important pannist of the island, Konkie mainly performs in hotels and at tourist sites. He enjoys performing for these crowds but his true passion and joy lie in arranging deep and melancholic compositions. These two tracks are the result of that joy. "Simadan Kologá" means "the hanging harvest". "Simadan" or “Seú” is the local harvest period on the island. "Kologá" means "hanging" because Konkie used a hanging steel pan for the arrangement. "Mi Ke Libertat" means "I want freedom". Instruments used: steelpan, drum, conch (seashell horn), and chapi, the iron part of a hoe that slaves used to work the fields with.

Record Store day exclusive. For the first time on vinyl! The fabled extended recording.... from the unreleased 1977 Natureza album produced, arranged, and conducted by Claus Ogerman.

We are true to the principles of the first "¡Naino!". Flamenco rumba fusion which in the hands of intrepid producers becomes Catalan Rumba under the influence of sounds coming from Cuba and Puerto Rico in the early 1960s, Rumba Pop under the umbrella of the British Invasion and American pop of the late 1960s, and Disco Rumba with the arrival funk and disco from the USA in the mid-1970s. Everything happens thanks to a flourishing record industry located mainly in Barcelona with labels such as Belter, Discophon or Vergara. After the death of the fascist, sanguinary dictator Paquito Franco in November 1975, the international record industry establishes in Madrid through major labels CBS, RCA, and a new fusion led by producer Jose Luis de Carlos and labeled as Gipsy Rock, Caño Roto or, in the Flamenco field, especially in couplets, Flamenco Pop. As Oriol Farràs pointed in the previous volume, rumba moved from tablaos to discotheques, understanding the concept of discotheque at that time with a slightly different meaning and less conditioned style-wise. The selection on offer here complements volume one. Starting with an A side packed with floor fillers, with Peret's "Chavi" as the top example of gypsy funk fusion under production of Josep María Bardagí and Josep "Rabbit Rumba" Cunill, and four examples of the answer to that sound as produced by Jose Luis de Carlos, showing the four cardinal points of this fusion success: Las Grecas, Los Chorbos, El Luis and Chango. De Carlos transforms the sound of Madrid's flamenco artists spicing it with soul, rock, glam, dub, funk, disco and gospel. These five opening tunes alone could feed a whole scholar course on the possibilities of rumba fusion and its incredible dance potential. Back to the record. There are not only examples of Afro-American flavored fusions. Progressive rock and Anglo-American psychedelia of the seventies are also influences represented here. They started a path that would later be known as "rock progresivo andalúz" (Andalusian progressive rock) with a crowded band scene and a hardcore hash impregnated following. But before reaching that point, here are some early efforts on side B. Synth-fueled rumba with Canterbury sound inspired electric guitars. A sound that, as it happened with rumba funk and flamenco pop, also had its moment of glory with the arrival of bands and solo artists such as Triana, Gualberto, Smash, Storm or Medina Azahara, or even the more blues-rock oriented Pata Negra.

When you think you already know everything that has been done in Cape Verdian music during the last 5 decades you’ll get surprised with this one. Saudade, a self released LP from 1984, recorded in a studio in Portugal, with Paulino Vieira in the line up along with other well known CV heroes from the 80’s such as Chibanga on the drums, this is maybe the ultimate discovery of the Cape Verdian funana music. Not much is known about this fantastic record or about the obscure Marcos. The 6 tracks recorded on the LP are pure killer funana, no synthetiser, only keyboards, guitars, drums and bass. Till date only a couple of cópies known exist. First time rissued now on Comets Coming.

Multi-talented musician and Moons' singer-songwriter Jennifer Souza presents her second solo album, produced and recorded by Leonardo Marques at his Ilha Do Corvo studio in Belo Horizonte. With a sound palette that moves from Brazilian song to jazz, from melancholic folk to indie rock with multiple and unexpected instrumentation, "Pacífica Pedra Branca" reveals a musical geography that is highly unique to the artist, one of the most exciting names on the Brazilian music scene today. Welcome to a unique and magical world of soft pop, indie rock and folk from beautiful Brazil!

180g heavy vinyl pressing, comes with studio pics, lyrics sheet and English translations. Produced and recorded by Leonardo Marques at the Ilha Do Corvo studios.

In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (sound-system operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here [Mexico City] but it was Monterrey that popularised it.“

“We are inspired by our own experiences, as well as those of others. The last year was the beginning of a new era for all of us and it has left us with much to analyze and the need to rethink our priorities. There’s been so many changes on this planet: the confinement, the constant looking back at the past, the struggle of many against endless injustices, love, all this leads to the fact that our new songs have very current themes but that also transcend time. They continue the characteristic sound of Acid Coco, with the undeniable influence of the Caribbean.” Acid Coco If we can define folklore as the passing on of traditions from a particular group of people, then there can be no denying that Acid Coco, whether consciously or not, are playing an important role in disseminating the folk culture of Colombia’s Caribbean coast. Throughout their music there are links to tradition: the gaita flute typical of rural cumbia, the effervescent guitar licks that are such a big part of the coast’s Afro-diasporic sounds, the teeth-rattling bass indicative of communities brought up on picó sound systems since the 70s, the unmistakable sound of the marimba wooden xylophone (each note like a rain drop on the jungle canopy), and then there are the lyrics. Tradition should not stand still, and in Andrea’s words we find the oral traditions of the last 30 years: on “Hoy Como Siempre” she sings of the need for women to stick up for themselves, to not fall in love too easily; on “Cara Dura” the sentiment is even stronger, its lyrics picking out a male predator on the dance floor who will not be tolerated; and then there’s “Mundo de Mentira” where vulnerability peaks through, the story of a woman whose life has become a “world of lies” since their lover has left – who can she believe now the one she trusted the most has gone? They are stories that could have spilled out of Cali’s salsatecas, Cartagena’s picós or any club the world over, yet through Paulo’s canny production there is no doubt where we are. Dembow, cumbia, reggaeton, even on the spiky Caribbean folk of final track “Por Las Venas” or chiptune melody of “Aquí y Allá”, there is nowhere we can be other than on Colombia’s Caribbean coast. It’s music that comes from lived experiences, from growing up in Colombia’s clubs and through its violence and daily realities. Culture is being passed forward.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, 'If You Will', released on Strut. Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora's favourite personal songs and positive lyrics from across her varied career. The album is the latest chapter in Flora's long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie's United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.

Electric Cowbell is pleased to release FACHADA's debut Mundos Secretos. An album of groove-heavy experimentalism from the diasporic streets of Washington DC. The music is a wildly hybridized meld of instrumental afro-noir, jazz-funk, and neo-psychedelia. Fachada is the musical persona of autodidact visionary artist and DC native, ROB Smith. Mundos Secretos is all original music infused with '70s-era MPB (Música popular brasileira), jazz and the organic sounds and rhythms of Brazil. Tastefully placed sprinkles of synthesizers, keyboards, and electric guitar weave themselves through a mosaic of grooves focused by funk and the sounds of Brazil, swung with influences from across the African diaspora, pushing them all through a mighty cool psych-styled filter.

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...

From Costa Rica, Los Cuchillos, a garage punk band that have their path already well defined in the garage punk scene. This is their first ep on Groovie Records, not the last for shure. This tracks are super killers and really shows what the band came for... Limited to 300 copies. 100 of them coloured.

Very rare Chilean album that blends folk and rock in a similar way to one of the most successful bands on IRT: Los Jaivas.A roster of very experienced and talented musicians, including some members of Aguaturbia, was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal.First official reissue with remastered sound from the original master tapes.Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire.Shortly after the coup, the group disbanded, leaving behind this masterpiece.First official reissue with remastered sound from the original master tapes.

When in 1960 Elza da Conceição Soares released her debut LP she had already gathered a great experience as a stage artist, having toured Argentina with Mercedes Batista. The big success of her Se acaso você chegasse single was a firm statement of the undeniable quality and unique style of Elza Soares, who brought the scat style of Louis Armstrong to samba. The jazz influence anticipated the phenomenon of bossa-nova, which in the style of Soares was marketed as "a bossa-negra" and is present through the sources of this, her debut LP.

Elza Soares would of course become a widely known international star touring Europe and the U.S. and spreading her career over the last 60 years, scoring numerous chart hits and collecting prestigious awards and having been chosen as "Best Singer Of The Millenium" by the BBC back in 2000.

The latest release from Silva, a singer/songwriter who has made the leap to become one of Brazil's leading artists, is going to be available on CD and LP!! With its tropical rhythms, elegant arrangements, and pop melodies that you can't get out of your head once you hear them, this is definitely one of the best Brazilian music albums in recent years! He started his career in 2012 as an indie synth-pop home recording artist, but has steadily moved up the ladder, and in recent years has performed with big stars Anitta and Marisa Monti. The singer-songwriter has grown to become one of Brazil's leading figures, and his latest album "cinco", released at the end of 2020, is now available in long-awaited physical format!

Previously unreleased 1981 live recording.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.

We invite you to take a journey through the music of the Pacific and Caribbean coasts of Colombia, where traditional rhythms blend with contemporary sounds. Mangle Rojo is a compilation album of 8 songs, released on vinyl of 12 inches, with some of the most popular rhythms of Colombian folklore, like Cumbia, Currulao, Bullerengue and, Puya, played by renowned artists like Nelda Piña, Inés Granja, Sixto Silgado Paíto, Emilsen Pacheco and Francisco Torres. Side A consists of four songs from the Pacific Coast, and side B has four songs from the Caribbean region. In this record take part bands and also collaborations between independent musicians. Six of the songs were composed for the album. Independent record label Bánfora Records produced Mangle Rojo, with support from the Ministry of Culture of Colombia

Original compositions by Gabriel Reyes-Whittaker created with an analogue Oberheim synthesizer, a Midi sequencer, and an effects unit.

The record was produced by the twenty years old Alex Tony Okoroji at the legendary ARC Studios in Lagos, a facility set-up by Ginger Baker. This is the third production for the Alex Tony Okoroji’s fledgling independent label Love Records, the previous record was the pioneering release by Udu - Sound of the People (Love Records, Nigeria 1976) also reissued by Dig This Way in 2020. Musically these two records are poles apart but similar in as much as both the band and producer present a personal musical vision that sounds nothing like their piers’ at the time… The Springs Band formed in Ibadan (Oyo State) which is roughly 130km northeast of Lagos. The seven members met while training to be Reverend Fathers for the Catholic Church and come from both Nigeria and Sierra Leone… in retrospect as unlikely as this sounds (particularly when you hear the record) the band were the Seminaries event house band at the time… Musically, the record consists of five prime time dancefloor gems with two very subtle afterhours numbers to close - not a bad track on here - which at times in itself is unique for records from the region in the late 70s. The first five tracks are complex hypnotic afro funk with an almost mesmerizing organ groove, that is deep and raw at the same time which well represent the time, the place and the people involved in the recording... As odd as it may sound the spiritually of the bands chosen profession is reflected in the fluid deep funk of the groove ... not being there we can only guess how the live performances of this "band in full flight" must have been ... as luck would have it the recording captures all of those elements and that’s what the end result sounds like near unbeatable! Judge for yourself via this enlightening release!!! Reading the original hand written press release for the record it would be fair to say, at the time, the members of the band were potentially not entirely focused on their chosen vocation and, reading between the lines, were mildly concerned what their educators might think… years later it’s pleasing to discover that all of the survivors became as good as it gets in their original career choice… better still… for the Afro-Centric music collector… the very same set of individuals (in their wilder days) recorded one of the most forward thinking and dance floor friendly records of the period… little known until now… “This is our dream world cristalised in vibes. In a world of uniform hate where people experience death in a trance , it is through love's cry that we see through the eyes of wisdom that he needs somebody. Music is the message transmitted in this super disko funk for funky people, to tell the brandifield dad the truth or ask a music-minded-lass, introduce me to your loving. So, if you have anything to say, why not join us and say it...after all it's a happy world... We have a right to the good things of life.”

Color de Trópico is a carefully-compiled work of healing and reconstruction, documenting a special moment in the history of Venezuelan music, when the country’s democracy was just a few years old and the profound impact of the oil industry on society had only just begun. DJ El Palmas and El Dragón Criollo have chosen eight impossibly hard-to-find jewels, originally released between 1966 and 1978, reissued here for the first time on vinyl. In this period, Venezuelan musicians assimilated a wide range of influences and styles, both local and global, to generate something new, a “modern” identity for Venezuelan music; artists who set their eyes on the future without giving up the search for their own sabor (flavour). This is how jazz, rock, salsa, funk, psych, prog and disco, sat next to guajira, cumbia, cha-cha-cha and even the hugely-popular Venezuelan style of joropo. It started a long tradition of Venezuelan musical pioneers, many of whom are still to get the recognition they deserve. Seconds after the needle drops on the vinyl, “El Despertar” (“The Awakening”) kicks off things with a goodbye for it was the last single Los Darts released before their dissolution in 1974. In the 60s they became the youthful face of pop, however, “El Despertar” settles into a later maturity, having digested the tumult of the times. A cha-cha-cha rhythm with bossa nova piano, bluesy stylings and a Caribbean context – a blueprint for tasty miscegenation – with the use of electric guitar, arriving in waves of chords, signalling the onset of modernity. “Guajira con Arpa” by the pioneering Hugo Blanco, who lists the creation of countless rhythms and his early adoption of rhythms like ska amongst his claims to fame, is a fusion that arrives without complexities. It approaches indigenous forms from a multitude of different angles, yet in the middle of its Caribbean approach it creates a melody so close to the pajarillo that the song seems to flip on its head. With “Zambo” the party is on. Here we have an all-star line-up comparable to master Cortijo’s brief project with his Time Machine in Puerto Rico. Alex Rodríguez, one of the most important jazz guitarists in Venezuela and his Retreta Mayor give a twist to the fusion by daring to venture into Latin jazz, funk and salsa. “Gaita Universal” by El Combo Los Capri, gives us a moment of solace, recalling the cultural, rhythmic and even spiritual brotherhood of Venezuela not only with the Caribbean but with the continent, South America and neighbouring Colombia. This cumbia is special, it interweaves musical phrases in the style of a popular party wanting to propose the permanence of culture. Rhythm is the point of union between all human beings and, as its name indicates, its proposal goes beyond the physical and particular. It’s pure tropical hedonism. Nelson y sus Estrellas reminds us once again of the Caribbean wave but here under his “urban” outfit. Nelson plays guaguancó in the style of original salsa, specifically in this version (the theme evolves over time) with a disco-soul twist on “Fantasía Latina”. It takes the sound of early masters like Eddie Palmieri but is developed with eclectic elements, a climatic structure in which a trumpet with vibrato, salsa-rock riffs with acoustic guitars and a flute that, unlike the charangas in those that Johnny Pacheco partook at the same time, rather have a cinematic character. The cosmic “Tu y Yo” from Almendra plots a journey between soul-jazz and psychedelia that sails over a Moog until ending as a P-Funk descarga. Despite the fact that the principal instruments are an organ and a synthesizer, the acoustic guitar provides a unique colour. A tropical psychedelic journey from beginning to end seasoned with congas. The album closes with Tulio Enrique León y Su Organ playing “Bimbom”, a European pop-styled track from 1975. It’s a version of Bimbo Jet’s Eurodisco “El Bimbo” that immediately became famous among popular easy listening orchestras throughout summer in Europe. Tulio Enrique shines by turning it into an enigmatic and spectral cumbia. Tulio was an organist whose blindness did not prevent him from becoming one of the most popular artists in the world, as cited by Billboard in 1965. We have left the politically-incorrect “Socorro, Auxilio” by Germán Fernando for the end. According to music journalist Alfredo Churión “those who saw him attested to having witnessed something indescribable”, a mysterious man who doubted even his sanity and of whom today practically nothing is known. He was someone who dared to show a completely foreign effrontery, signing unintelligibly, moving frantically and throwing himself to the ground before the stunned gaze of his audiences. Venezuelan writer Luis Armando Ugueto states: “his art could go from the sublime to bad taste – and it was craved by the press – when he subjected viewers to strange songs where he pleaded for socorro and auxilio [help].” Germán Fernando had a histrionic proposal that was a thousand times misunderstood and that even popular presenters of the time like Renny Ottolina dubbed “his follies”. A theme close to the jazz orchestra soundtracks of James Bond and Batman accompanies the showman here who comes across like a creole Screaming Jay Hawkins. He creates a whirlwind of sound that, while as agile as a featherweight, is also capable of knocking out all the old ideas we had about Venezuelan music.

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.

Candombe fusion, art rock and psychedelia with punk attitude. With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music. Siempre son las cuatro, his fourth album, recorded in 1982 in Montevideo after a long stay in Europe, was the work that started to build Roos’ artistic personality and the first step towards mass appeal in his country. A psychedelic album with dark and somber tones but also full of groove and punk defiance, that is quintessentially Uruguayan. 500 copies. 140 gramms vinyl, Poster included

New Wave and Afrofuturism With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music. Released in 1984, Mediocampo absorbs the new wave trend in a unique way, blending the sounds of synths and electric guitars with Afro drums and Latin rhythms. The songs jump from candombe to rock, from ballad to murga roots, from pop to experimental music. The album paved Roos’ path to stardom in Uruguay and is considered nowadays as one of his most substantial works. 500 copies. 140 gramms vinyl, 12 page booklet included!

Berlin was live recorded at the ARK Studios Berlin in the summer of 2019 this record is Featuring: Renato Gama (Voice and Gittar) , Ronaldo Gama (Bass), Leo Carvalho (Percursion) along special guests Franck Bidin and Paulo Cedraz.

Our much in-demand series of classic Brazilian 45s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right. Number 80 in our Brazil.45 series, aptly sees a double-sider focusing on the awesome 80's recordings by one of the giants of Brazilian music, Jorge Ben. First up is the addictive, building groove of 'Curumin Chama Cunhãtã Que Eu Vou Contar (Todo Dia Era Dia De Índio)’. Taken from the 'Dádiva' album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge's most beloved Brazilian-Boogie joints, 'Rio Babilônia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments. The song was originally released on a compacto and taken from the 'Dádiva' album from 1983, it features arrangements by the late-great, Lincoln Olivetti.

180g vinyl edition. Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt

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.

The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

For those of you who haven't had the pleasure of seeing Koko-Jean and The Tonics featuring Dani Nel·lo, you are in for a treat! For the first time they join forces with this debut single to pay tribute to one of the greatest 60s rhythm and blues icon, Little Milton. 3 elegant yet greasy tunes that are sure to explode in your ear and make your body swing and shake. pop in this new single and let it roll!!