Latin | Brazil Vinyl 194 Items

Record Store Day 2021 Release.

180 gram pressing

Prodigy child Marisol a.k.a. Pepa Flores was born Josefa Flores González in

Málaga, 1948. She was discovered in 1959 and started a successful solo career

that took her to win the Best Child Actress prize of the Mostra de Venezia in

1960s. She did many movies for Spanish directors, also for actor/director Mel

Ferrer in Hollywood and did also T.V. work.

Parallel to her cinema and television career Marisol produced an impressive collection

of records. This double LP set collects some of her most famous hits, spreading

through a variety of styles that go from traditional Spanish flamenco flavoured tunes to

ye-yé beat to more sophisticated pop productions, including songs written by famed

Spanish composers/conductors such as Augusto Algueró and Manuel Alejandro,

Spanish pop stars Juan y Junior and Los Brincos or jazz legend and ubiquitous

arranger / producer Juan Carlos Calderón.

Since her child star days, Marisol evolved both as an artist and as a civil rights

defender through the years until she retired from public life in the 1980s. This collection

is a small representation of her works from her earliest recordings in 1962 through

some of her more mature productions.

The release comes in a gatefold cover.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 1 is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state. The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states. The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba. Cuba: Music and Revolution is the third book that Gilles Peterson and Stuart Baker have collaborated on together and follows on from their two earlier critically acclaimed books, Freedom, Rhythm and Sound (Revolutionary Jazz Music in the 1960s and 1970s) and Bossa Nova and the Rise of Brazilian Music in the 1960s, both of which also had related album releases on Soul Jazz Records.

This is one of Tito Puente’s best original albums released under the label of Tico in the 60s. The album features one of his best hits, “Oye Cómo Va,”. Tito Puente and his orchestra lay down a driving irresistible beat that moves from beginning to end in a pulsating performance and create an added appeal with their ensemble singing which lends an authenticity to the music. Pressed on 180g black vinyl with a tip-on-jacket. US Import.

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.

Deluxe double gatefold 180gr audiophile grade LP. Includes two-page spread with complete lyrics. Personnel on Side A and Side B #1-2: Orchestra arranged and conducted by Antonio Carlos Jobim (p). João Gilberto (vcl, g). Musicians featured on these sides: Nicolino Cópia “Copinha” (fl), Edmundo Maciel (tb), Guarany (percussion), Milton Banana (Antonio de Souza) (d), Juquinha (triangle), Rubens Bassini (bongo), Milton, Acyr and Edgardo (vcl Side A #3) Personnel on Side B #5-10 and Side C #1-6: João Gilberto (vcl, g) with orchestra arranged and conducted by Antonio Carlos Jobim. Side C #1: Solo guitar and rhythm Personnel on Side C #7-11: João Gilberto (vcl, g) with Walter Wanderley’s Group Personnel on Side D #1-4: with orchestra arranged by Antonio Carlos Jobim. Side D #5-6 & 8: with Antonio Carlos Jobim (p) and rhythm. Side D #7: João Gilberto accompanies himself on guitar The poet Vinícius de Moraes pointed out that the bossa nova movement began after his first songs with Antonio Carlos Jobim appeared in the 1958 album Cançao do Amor Demais, sung by Elizete Cardoso and played by an unknown 28 year-old guitarist from Baia named João Gilberto. He accompanied the singer (in two songs “Chega de Saudade” and “Outra vez”) with a new rhythmic feeling, “batida”, and with rich harmonies that would become the trademark of the modern Brazilian samba, which became known as Bossa Nova.

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.

The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.

Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time.

The heaviest, rarest, best Fuzz-Funk-Psych 45s from Brazil. Contains full booklet with liner notes in English and Portuguese plus photos by Brazilian vinyl archaeologist Joel Jones.

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

The perfect Brazilian jazz odyssey created by Roman Andren, also known as "Swedish Deodato"!His finest album "Juanita" wasreleasedin 2007which has a presence comparable to the many masterpieces produced by Azymuth and Airto Moreira!P-VINE presented this album as CD in 2008 and it's finally released as an LP with OBI-strip for the first time!

It's About Time To Uncover The Most Unknown Brazilian Music Style. Unlike Other Brazilian Musical Traditions As Samba And Bossa-Nova, Never Ever Anything Of Caipira Music Has Been Released Outside Brazil. Repairing This Huge Gap, Vampisoul Presents Helena Meirelles - A Rainha Da Viola Caipira, A Stunning 25-Track Compilation Of The Revered Queen Of The Viola Caipira, Mrs Meirelles.A Stunning Compilation Of The Revered Queen Of The Viola Caipira, Helena Meirelles, Once Included In The Top 100 World's Guitar Players By Guitar Player Magazine.On This Double-Lp Anthology You Will Face Some Of The Most Expressive Helena's Creations. 'Guaxo', For Examplecontains An Ultra-Melodic Guitar Riff That Will Stick In Your Ears For Ages While 'Mercedita' Has An Evolving Rifferama. 'Saudades Do Meu Velho Pai', On The Other Hand, Is A Typical Baiao, A Very Peculiar Northeasternrhythm In Brazil, De-Constructed By Her Very Own Style. 'Flor Da Guavira' Is A Delicious Caipira-Ballad. These Are Only A Few Great Ones, Amongst So Many Other Exquisite, And Unusual Delights.A Fascinating Journey Into One Of The Lesser Covered Brazilian Genres, Caipira, Rich In Folk And Country Music Elements. Reissued On Vinyl For The First Time.Considered By The Guitar Player Magazine, One The 100 Greatest Guitar Players Of All Time, Don't Miss The Chance To Discover A Brand New Kind Of (Brazilian) Folk Music.

This exclusive Jazz-Fusion album is a work composed by famous Hawaiian composer/musician/educator Gary Washburn. "A Life in a Day" was a project to fulfil a National Endowment of the Arts grant that he was awarded, and he performed it to fulfil a State Foundation grant that was also awarded to him. Gary composed the music in Hilo specifically for the individuals who performed the music (in the same way that Duke Ellington composed for his band). It's a concept album. The Justin Thyme line-up played a series of shows across the island, and they were initially recorded on a 4-channel recorder. The songs was introduced to brother and producer Kent Washburn, and he agreed to release it on his independent label EmKay Records. The album was mixed and pressed, but the distribution company he was with doubled it up and the album never really made it to the public. The musical Styles used by Washburn to present this unique conceptual representation include traditional and contemporary Jazz, Funk, Pop and, in some passages, classical.

I was in Lima, hanging out with collector-extraordinaire Victor Zela, who had spent the previous few years pouring his passion for Peruvian Cumbia into the blog „la cumbia de mis viejos“, a trove of incredible music. But after the birth of his first child, his priorities shifted and he decided to part with some of his rarest LPs. I was one of the lucky few given an early chance to examine his treasures, and when I picked up the album Manzaneando com Manzanita, Victor said: “Take it! its one of the best LPs ever recorded in Perú … easily in the top five”. That was all the encouragement I needed … two years later many of the songs from that masterpiece have made it onto Manzanita y su Conjunto, a compilation of electrifying Cumbia sides from Manzanita’s golden era.

Berardo Hernández – better known as Manzanita – first surfaced during the psychedelic Cumbia craze. At the head of the scene were the magnificent Los Destellos, whose leader, Enrique Delgado, was such a six-string wizard that other guitarists found it impossible to escape his shadow. But when Manzanita arrived, his electric criollo style sent shockwaves through Lima’s music scene and posed a serious threat to Delgado’s dominance as king of the Peruvian guitar.

Manzanita had come to Lima from the coastal city of Trujillo, five hundred miles up the coast – a place where Spanish, African and indigenous populations had been living and making music together for centuries – and came of age at a time when the first wave of psychedelic rock from the US and UK was starting to sweep the airwaves. But the sounds of Cream and Hendrix disappeared from the radio just as quickly in 1968 when Juan Velasco seized control of the country in a military coup. The new regime, which favoured local traditions over cultural ‘imports’ from the north, was a blessing in disguise for the Peruvian music scene.

Record labels flourished as new bands, raised on a hybrid diet of electric guitars and Cuban rhythms, rushed in to fill the vacuum created by the lack of imported rock. A new genre, known as Peruvian cumbia, was born and Manzanita quickly became one of its most original voices.

Starting in 1969, Manzanita y su Conjunto released a steady stream of singles that used Cuban guaracha rhythms as the foundation for dazzling electric guitar lines. After countless 45s and several years on the touring circuit, the band signed to Virrey, an important Peruvian label, and recorded two LPs acknowledged as masterpieces among aficionados of tropical music. Most of the songs on Analog Africa’s new compilation Manzanita y su Conjunto are drawn from those legendary sessions of 1973 and 74.

Although he scored a few more hits in the later 70s, his dissatisfaction with the music industry caused him to withdraw from the scene for several years; and when he finally retired for good, the golden age of Peruvian cumbia was a distant memory. But when Manzanita was at the top of his game he had few equals. Victor Zela was right: this is some of the best music ever recorded in Perú.

Vocals: Jeimy Osorio (Netflix "Celia Cruz" series), Latin Grammy Award winner Mireya Ramos, Grammy Award nominee Danny Rivera, Ismael Cruz Cordova (Lord of the Rings), Bomba singer Chamir Bonano, and newcomer Sabrina Cintrón. Cameos: Olympic medalist Laurie Hernandez, actors Rosario Dawson (Disney+ “The Mandalorian”) , Lauren Luna Velez (Into the Spider-Verse), Oscar nomineeRosie Perez, Ramon Rodriguez (hbo "The Wire,"Transformers II),Freddy Rodriguez(CBS "Bullet"), Justina Machado (CBS"One Day At A Time"), Modesto Lacen (Netflix "Celia Cruz" series), artist José Parlá, hip hop legends Crazy Legs and Tony Touch, former And1 Mixtape star Tim “Headache”Gittens, and DJ Janzism de Puerto Rico. 100% of the net profits will be given to Afro-Boricua grassroots programs based in PR via the non-profit La Borinqueña grants program.

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!

Two brothers, two guitars, two distinct identities, who become one soul when they compose music. Stephan and Alejandro, are the Hermanos Gutierrez, an instrumental music band with an unmistakable genre that is rooted in Western and Latin American sound. Born from an Ecuadorian mother and a Swiss father they grew up being forged by both cultures, bridging between two worlds, both of which are home.

Their mix of identities, that constant search across different countries clearly emerges in their songs. Their music takes the audience on an intimate journey through time evoking remote spaces. A magical sound that touches the heart, that sparks passion and nostalgia. An open invitation to a constant dialogue of melodies and instruments.

Playing together since their early childhood, a profound musical and interpersonal symbiosis ties the two brothers. If one of them has a melody, the other one completes it with harmony. There is a deep understanding between the two of them, without any need for words.

Active as a band since 2015, they have recorded four albums: “8 Años” (2017), “El Camino De Mi Alma” (2018), “Hoy Como Ayer” (2019), and the newly released LP “Hijos Del Sol” (Children Of The Sun). A body of work that has been inspired by their journey through the vast natural landscapes of Mexico, the silence of the desert, the sun, and their love for this country that made them feel “like going home”, as they affirm. Out came a soundtrack of the sceneries they’ve been exploring.

"Eternamente“ is the perfect introduction to Hermanos Gutiérrez and their unique
"Instrumental Western Sound". This collection features 12 selections spanning four
albums, including songs; "Hijos del Sol", "El Jardin", "Esperanza" & many
more. Packaged in a stunning Gatefold and meant to be passed with love to our
next generations.

Mokomizik Records presents the first-ever reissue of this ultra-rare Latin-Jazz masterpiece. The Fantastic Variety in the Music of Panama - The Winsor Style and Calypso Impressions was privately released in the early 1960s by Panamanian pianist and songwriter Alonso Wilson De Briano.
Alonso described Panama as a country "with a foot in each side", referring to its unique geography that connects North and South America. The blending of Latin and English-speaking cultures had a big influence on Alonso, whose work draws on elements from West-Indian, Afro-Cuban and Panamanian folk musical styles. From the upbeat mambo rhythms of "Amigo" to the unusual combination of Calypso and Tamborera styles used in "My Brother, Too," Alonso weaves a rich musical tapestry into his arrangements. Back in 50s Panama, Alonso enjoyed relative success, with the likes of Orquesta Armando Boza and Tito Contreras performing his songs. So distinctive were his compositions that people had started referring to them by their own style - El stylito Winsor (the Winsor style), a reference to a club that Alonso performed at. Throughout his music career, Alonso worked with a number of renowned musicians, several of whom appear on the record, including Cuban-Jazz pioneer Arsenio Rodríguez's main bassist, Alfonso Joseph; and saxophonist and flutist Gene Jefferson to name a few.
Sadly, not many copies remain of Alonso's music today and the few that have surfaced over the years have naturally demanded high asking prices. This limited reissue aims to shed new light on Alonso's work and make it available for a new generation of listeners to enjoy. Great care has been taken to restore this record, using quality mastering to ensure maximum listening pleasure and retaining the original artwork with lyrics and the song descriptions written at the time. Each record comes with an insert containing restored photos and detailed biography, which features quotes from a rare interview with Alonso from the 1980s along with information gathered from his family and Alfonso Joseph, the only musician we could reach who plays on the record.
Limited to 500 copies. 180g LP with tip-on sleeve.

We’d like to touch base on the launch of the vinyl of Voltaje Raizal the first album of the tropical futurist music project Rizomagic, an electronic music duo, that consists of Diego Manrique, director of the avant-garde cumbia orchestra Niño Pueblo, and Edgar Marun, director of the ethno-afrobeat ensemble Dorado Kandua; Two outstanding projects from Bogota's new thriving alternative psychedelic scene. Voltaje Raizal will be released on vinyl by the italian label Disaster by Choice on November 21 supported with a musical video for their song CumbiaAchiampong by the colombian visual artist Martin Sanchez. The sounds of the album are rooted in the Afro-Caribbean musical tradition, in the mixed ancestry that defines Colombian culture, and IDM. The melodic construction of the album takes inspiration from variouscultures, including Indigenous chants from Colombia’s Embera people, the traditional scales from Mali’s Bambara ethnic group, and the Ghanian palm wine guitar interpreted by a Caribbean millo flute. The mix and masterization carried out by Eblis Alvarez ( Meridian Brothers, Pirañas, Chupame el Dedo) and Camilo Manchego offered the final touches that make Voltaje Raizal a fresh proposal to Colombia’s futurist tropical scene. “ Rizomagic set our to recontextualize their sources. It’s no coincidence that their name comes from rhizomatic, the botanically derived term for a subterranean, horizontal network of roots”… File Under: Tropical Futurismo, Eletronic, IDM

Rare Salsa/Soul gem produced by Joe Bataan, which has been out of print for 50 years. Vocals by Papo Felix. Remastered off original analog tapes. Limited to 500 units - splatter vinyl. Released on Ghetto Records in 1971, long out of print.

Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca, Moons, and Gus Levy, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful album by Bruna Mendez. A chill, mellow and futuristic musical masterpiece with funky and electronic flavours, Corpo Possível leads the way to the new era of Brazilian R&B.

Bruna Mendez is a female singer/songwriter from the inland city of Goiânia, Brazil. Originally a lyricist, she began her musical career in 2008 to express herself as a musician, joining several bands in Rio as well as in her hometown Goiânia. After releasing her debut EP "Pra Ela" in 2014, Bruna released her debut solo album "O Mesmo Mar Que Nega a Terra Cede à Sua Calma" in 2016, which received critical acclaim in Brazil.

After this first album, Bruna also finds interest in electronic sounds and textures, and starts incorporating these elements into her music. Her second album here, "Corpo Possivel", is the result of such an encounter between electronic beats, addictive melodies and a band and musicians playing a tight and propulsive sound. All of this makes Corpo Possivel an album standing out in today's Brazilian music scene, where many extraordinary talents are produced. 180g and Disk Union are proud to release Corpo Possivel for the first time outside of Brazil. This is an essential LP by an artist promised to a bright future on the Brazilian and international scenes.

This album comes on 180g vinyl format.

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Credits:

- Recorded in Curitiba / PR / Brazil, between April and July of 2019 by Pedro Soares (jack) at Chucreza Beats, Guigo Berger at Rec'n'Roll, Tiago Brandão at Voxdei, Vinicius Braganholo at Nico's Studio; in Goiânia / GO by Braz Neme at UpMusic, and in Lisboa / Portugal by João de Carvalho at The LX Sound.

- Produced by Gianlucca Azevedo (jan) - Co-produced by Machado (tracks A3 and B1), Pedro Soares (jack - tracks A4 and B2) and Lucas Romero (track B3)

- Voices: Bruna Mendez, Lilian Soares, Layane Soares and Machado - Guitars: Bruna Mendez and Gianlucca Azevedo - Bass: Machado, Leomaristi dos Santos, Rayssa Almeida, Nikko Novak and Gianlucca Azevedo - Saxophone: Gianlucca Azevedo - Drums: Pedro Soares, Eli Lage and Jean Ramos - Vocal Producers: Lilian Soares and Gianlucca Azevedo

- Edit: Bruna Mendez, Gianlucca Azevedo and Amadeus Marchi - Post-production by Bruna Mendez - Mixed by Guigo Berger at Rec'n'Roll Studio (Curitiba / PR) - Mastered by Anderson Guerra at Bunker Analog (Belo Horizonte / MG)

- Art direction: Junior Ribeiro and Bruna Mendez - Album cover photo by Junior Ribeiro - Graphic design: Félix B. Perini - LP additional design by Nicolas Kerembellec (nker.fr)

- Executive Producer: Cecília Brito - LP vinyl production by Greg Gouty (180g) and Yusuke Erikawa (Disk Union)

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180gdulp06 - Manufactured and distributed by 180g in collaboration with Disk Union Japan, under license from Bruna Mendez.

Two Vinyl LPs (sold separately) From the Sun Ra & Carl Craig collaborator Francisco Mora Catlett, Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Two Vinyl LPs (sold separately) From the Sun Ra & Carl Craig collaborator Francisco Mora Catlett, Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

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.

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.

Two brothers, two guitars, two distinct identities, who become one soul when they compose music. Stephan and Alejandro, are the Hermanos Gutierrez, an instrumental music band with an unmistakable genre that is rooted in Western and Latin American sound. Born from an Ecuadorian mother and a Swiss father they grew up being forged by both cultures, bridging between two worlds, both of which are home.

Their mix of identities, that constant search across different countries clearly emerges in their songs. Their music takes the audience on an intimate journey through time evoking remote spaces. A magical sound that touches the heart, that sparks passion and nostalgia. An open invitation to a constant dialogue of melodies and instruments.

Playing together since their early childhood, a profound musical and interpersonal symbiosis ties the two brothers. If one of them has a melody, the other one completes it with harmony. There is a deep understanding between the two of them, without any need for words.

Active as a band since 2015, they have recorded four albums: “8 Años” (2017), “El Camino De Mi Alma” (2018), “Hoy Como Ayer” (2019), and the newly released LP “Hijos Del Sol” (Children Of The Sun). A body of work that has been inspired by their journey through the vast natural landscapes of Mexico, the silence of the desert, the sun, and their love for this country that made them feel “like going home”, as they affirm. Out came a soundtrack of the sceneries they’ve been exploring.

Soul Jazz Records’ new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, ‘Voodoo Drums’, featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums.
"I haven't heard anything quite like this; the rhythms are very deeply orchestrated yet it also sounds like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!" Guardian
In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin.

This release comes on heavy-weight 180g vinyl. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes.

A dazzling survey of the last, bohemian flowering of the so-called Golden Era of Ecuadorian musica national, before the oil boom and incoming musical styles — especially cumbia — swept away its achingly beautiful, phantasmagorical, utopian juggling of indigenous and mestizo traditions.

Forms like the tonada, albazo, danzante, yaravi, carnaval, and sanjuanito; the yambo, with roots in pre-Incan ritual, and the pasillo, a take on the Viennese waltz, arriving through the Caribbean via Portugal and Spain.

Exhumations like the astoundingly out-there organist Lucho Munoz, from Panama, toying with the expressive and technical limits of his instrument; and our curtain-raiser Biluka, who travelled to Quito from Rio, naming his new band Los Canibales in honour of the late-twenties Cannibalist movement back home, dedicated to cannibalising other cultures in the fight against post-colonial, Eurocentric hegemony. He played the ficus leaf, hands-free, laying it on his tongue. One leaf was playable for ten hours. He spent long periods living on the street, in rags, when he wasn’t in the CAIFE studio recording his chamber jazz-from-space, with the swing, elegance and detail of Ellington’s small groups, crossed with the brassy energy of ska — try Cashari Shunguito — and an enthralling other-worldliness.
Utterly scintillating guitar-playing, prowling double bass, piercing dulzaina, wailing organ, rollicking gypsy violin, brass, accordion, harps, and flutes. Bangers to get drunk and dance to. Slow songs galore to drown your sorrows in, with wildly sentimental lyrics drawn from the Generacion Decapitada group of poets (who all killed themselves); expert heart-breakers, with the raw passion of the best rembetica, but reined in, like the best fado.

Sumptuously presented, in a gatefold sleeve and printed inners, with a full-size, full-colour booklet, with wonderful photos and excellent notes. Limpid sound, too, courtesy of original reels in Quito, and Abbey Road in London; pressed at Pallas.

Limited aqua marine vinyl edition including a lyrics' fanzine. 150 copies only, only at HHV Records.

After 20 eventful years as a drummer, singer, producer and composer in her hometown São Paulo, the Brazilian Mariá Portugal moved to Duisburg some time ago.
On November 12, 2021, she is now releasing her latest album, Erosão. Her debut for Fun In The Church will be released as a collaboration between selo Risco (Brazil) and Fun in The Church on vinyl and digital.

While Chicha Libre's second album, Canibalismo was inspired by the Peruvian Chicha explosion of the 70's, it also looked back to the cultural Cannibalism dear to Os Mutantes and other Brazilian tropicalists, as well as the production values of late 1960’s rock bands. The group still pays homage to amazonian legends Los Wembler's de Iquitos, Los Mirlos and Manzanita, but mixes it up even more by combining mellotron and vintage synths with West African guitars, treated percussion, fuzztone and some R.D Burman-inspired arrangements. Originally released in 2012, this the first european re-release on vinyl.

Credited to the unexisting La Sonora MAG, this mega rare late '50s album was actually recorded by Peruvian percussionist Ñiko Estrada and his Sonora, comprising hits from the repertoire of the most famous Cuban and Boriquen orchestras: guarachas, boleros and one instrumental tropical beguine.It features three great vocalists: Manolo Castro, Rafael "Chivirico" Dávila and Vicky Zamora, whose take on 'Pepito' became one of the most popular songs of the year in Peru.Reissued for the first time. 180g vinyl pressing.DESCRIPTION/DETAILS:This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born_"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

A Espetacular Charanga do França is Sao Paulo's most hyped carnival collective and brass band led by Thiago França - best known as a founding member of Afro-punk explorers Metá Metá. The collective combines retro horns with cumbia, baile funk, jazz and features Brazilian vocal legends such as Lucas Santtana, Tulipa + Jucara Marcal.

Cerrero, Llorona Records Founder's Solo Project, Joins Young "Gaita Flute" And Trumpet Wizard El "León" Pardo (Ondatrópica) For An Acid Cumbia Infused Dub Journey To The Underground Electronic Sound Of South America. Blend Of Ritualism And Futurism, Rough Ethereal Sound, Melancholic Voices And Analog Dub Mixing For A Unique Record That Presents The Work Of The Thriving Electronic Acts From Colombia. Llorona's In-House Act, Cerrero, Teaming Up With Another Colombian, Gaitero And Trompetista, El Leon Pardo. The Enigmatic And Cult Like Figure Has Featured On Many-A-Colombian Record In Recent Years, Including, Ondatropica And Velandia Y La Tigra. Though This Might Be One Of The Most Exciting Match-Ups Yet. Cerrero's Minimalistic Electronic Beats Channeled Through An Analogue Console Alongside The Abraded Howls Of Gaita And Accentuated Trumpet Work. The Deep And Bassy Four-Track Ep, Canción Para Un Amigo, Was Justly Named To Mark The Meeting Of These Two Brilliant Minds. Mixed In The Extemporaneous Ambience Of A Live Recorded Session, It Makes For A Riveting Listen. Six Standalone Tracks, Bound Through Crescendoing Loops Which Culminate In An Ethereal And Atmospheric Ritual Of Sound Which Evokes Colombian Ancestry. From The Spellbinding Opening Of Gaita-Led "Canción Para Un Amigo", The Ep Evolves Through "Todo Te Llevaste", A Track Skillfully Stitched Between Its Vocal Interludes By The Rat-A-Tat Of Accented Tambor, A Fanfare Of Trumpets And Underpinning Bass Line. Closing Out Via "Cumbia En Lejanía"'S, Gaita / Trumpet Led Interplay Into "Despedida", A Pining Jazz Melody Soaked In Reverb, It's As Complete Of A Work We've Heard Yet From Cerrero And Represents Another Glistening Gem In The Ever Increasing Bows Of The Llorona Catalogue. Inescapably Mesmeric As It Is A True Delight.

London based band Son Yambu are back with their second album full of original son Cubano, continuing the Buena Vista legacy that put Cuban music back on the world map in 1997. Featuring a new line up of the very best of Cuba's musical diaspora, 'Tremendo Ambiente'reflectsthe evolving nature of the music whilst at the same time paying homage to its roots. Recorded in London, 'Tremendo Ambiente' features Son Yambu's traditional 'sonora' sound of two trumpets.Made up entirely of original songs, the album features a varied collection of Cuban and Caribbean rhythms.

Recorded And Originally Released Only In Argentina In 1972, The Album Shows An Exquisite And Delicatedialogue Between The Guitar Of Sebastiao Tapajos And The Percussion Provided By Pedro Dos Santos That Generates Ambiences Of Unusual Beauty And Depth.It Is A Necessary Addition To The Much-Hailed Pedro Dos Santos Album "Krishnanda" In The Collection Of Anyone With An Interest In The Most Adventurous Sounds Of Brazil And Also An Essential Work In The Discography Of Sebastiao Tapajos.Includes The Killer Afro-Samba 'Mungangá' And The Hypnotic Groover 'Sorongaio'.Info:The Ion Studios, Located In The Buenos Aires Neighborhood Of Balvanera, Have Been The Usual Setting For Recordings By Argentine Artists As Popular As Les Luthiers Or Charly García. In The Early 1970s They Also Hosted Brazilian Guitarist Sebastiao Tapajos For Several Sessions Accompanied By Other Musicians Such As Arnaldo Henriques, Marianazareth Or Pedro "Sorongo" Dos Santos. Two Albums Would Be Published In The Argentine Record Label Trova Of The Recordings Along With The Latter.Following The Success Of Our Recent Reissue Of Several Recordings From These Sessions ("Vol. 2" Vampi 212 And "Tudo É Moda" Vampi 45073) We Are Now Happy To Present This "Vol. 1". The Connection Between The Delicate Guitar Of Tapajos And The Surprising Experimental Percussion Of Pedro Dos Santos, Based On Unusual Objects Such As Spoons, Deodorant Containers Or Matchboxes, Creates Extraordinary Beauty Throughout The 12 Songs On The Album. The Sound Of The Flute Is Another Of The Ingredients Present In Several Of The Songs And, Although His Actual Involvement Is Not Confirmed On The Sleeve Credits Of The Album, Everything Seems To Indicate That Danilo Caymmi Was The Musician Invited To Accompany The Tapajos-Dos Santos Duo.Since Its First Release In 1972, This Album Has Been Highly Sought After By All Tapajos Fans, Both Inside And Outside Brazil, Becoming A Title Hard To Get Hold Of Due To The Fact That It Was Initially Only Published In Argent...

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion, Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

Orquesta Akokán is ready to unleash 16 Rayos on the world's dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

Orquesta Akokán is ready to unleash 16 Rayos on the world's dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

Ykytu is Brasilian guitarist Fabiano do Nascimento’s fourth album for Now-Again Records. Produced by Nascimento’s longtime engineer Jason Hiller, this album is do Nascimento’s first solo guitar album and, like his previous album, Preludio, is reliant on do Nascimento’s own compositions, with a little help from like-minded musical travelers. In keeping with the trajectory of his previous albums, including Dança dos Tempos and Tempo dos Mestres, Ykytu follows folkloric Brasilian music, Brasilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, this time in a minimalist, meditative manner. “Even though this album is a bit experimental and even abstract at times, It is meant to be a calming and easy listening experience,” do Nascimento offers. “I choose to keep the songs and arrangements intentionally very bare and stripped down. Just adding few layers and colors here and there.” The album came together during the Covid-19 pandemic, but one hears anything but isolation in Ykytu’s grooves. Do Nascimento performed the album almost entirely with a Strimon Timeline pedal, with a few loops and overdubs, and the result is a full-fledged, if quiet and subtle, conversation Do Nascimento has with himself, as he ruminates about this stage in his life, in his musical journey, and his music’s place in the world. Ykytu means "wind" in the indigenous Brazilian Guarani language. In his own way, as he was quarantined in Los Angeles, Do Nascimento has succeded in journeying outwards, in heeding the call of the open world. At the same time, he has remained true to the spirit and calling of his forebears, hearing their whispers, amplifying them, augmenting them, and allowing them to flow outwards.

Highlights:Long-Awaited Second Album By The Rising Stars Of Neo Cumbia And Psychedelic Chicha In Peru, Arequipa's Very Own Los Chapillacs, Featuring The Late Lucho Carrillo, Lead Singer Of The Legendary Band Los Diablos Rojos, Daniel F (Leusemia) And Laurita Pacheco.A Mix Of Many Different Music Genres And Styles From Peru And Beyond. From The Expected Cumbia And Chicha (With And Without The Psych Element) To Chacalon Influences, Popular Afroperuvian Rhythms And A Touch Of Rock With A Certain Sense Of Humor That Even Welcomes '80s Hair Metal Guitars And A Touch Of Deep Ballad Vocals...Jungle-Tinged Electric Guitars Firing Up The Party!Description:Long-Awaited Second Album By The Rising Stars Of Neo Cumbia And Psychedelic Chicha In Peru, Arequipa's Very Own Los Chapillacs."Lo Bueno, Lo Malo, Lo Feo Y Los Alaracosos Chapillacs" Comprises Many Different Music Genres And Styles From Peru And Beyond. From The Expected Cumbia And Chicha (With And Without The Psych Element) To Chacalon Influences, Popular Afroperuvian Rhythms And A Touch Of Rock With A Certain Sense Of Humor That Even Welcomes '80s Hair Metalguitars And A Touch Of Deep Ballad Vocals...A Number Of Guest Top Artists Are Featured In This New Album: Daniel F From Punk Band Leusemia; Harp Virtuoso Laurita Pacheco On 'Cada Noche Me Pierdo'; The Late Lucho Carrillo (Cumbia All Star, Los Diablos Rojos) On "Fiesta De Mostros"; And Also0 Rony Carbajal (Xdinero) And Arequipa's Folk Artist Filiberto Barrios.Jungle-Tinged Electric Guitars Firing Up The Party!

Gary took 25 years to make his debut Gods in Brasil but less than 1 year to make his follow up. Songs from the vaults newly recorded with the same great band featuring touches of Steely Dan, Marcos Valle & Leon Ware, Brazilian Boogie, 70s Samba Soul and even a hint of Scott Walker. “A joyous revival of 1970’s musical moods, under smart contemporary arrangements and sweet interpretations.” Arnoldo Medeiros

Afrosound's Mission Was To Emulate The Guitar-Heavy Tropical Sounds Emanating From Perú And Ecuador At The Time. To Add To The Hippie Vibe, There Were Plenty Of Whacky Improvised Vocal Asides (Called 'Inspiraciones'), Plus Custom Fuzz, Wah-Wah, Flange And Echo Effects Boxes For The Guitar And Keyboards. A Barrage Of Odd Sounding Synths, Drum Machines And Other Electronic Flourishes Were Also Sprinkled In To Spice Up The Proceedings. The Dozen Tracks On Afrosound's Debut Long Play Make For A Surprisingly Diverse Palette From Which These Colombian Musicians Painted Their Daring Portrait Of Peruvian Cumbia, Returning The Favor In Bold Colors That Still Resonate Almost 50 Years Later. "La Danza De Los Mirlos" Kicks Off With Most Famous Afrosound Hit Of All, 'Caliventura', A Genius Blend Of Funk And Cumbia. Aside From The Cumbia Amazónica Title Tune, There Are Several Other Covers Including Three Popular Songs By Nelson Y Sus Estrellas, Plus Radically Reimagined Versions Of Various Colombian Costeño Classics Published By Fuentes. Mario "Pachanga" Provides A Sad But Still Groove-Oriented Christmas Son Montuno / Cumbia Hybrid While Fruko Brings Us The Bomba-Funk Ditty 'El Chorrillo' And The Rocking Cumbia Andina Gem 'Cabeza De Chorlito' Where Sepúlveda Channels Enrique Delgado. Fruko Collaborator Hernán "Hercovalle" Colorado Vallejo Rounds Things Out With The Melancholic Psychedelic Cumbia 'Esperando Por Ti', Proving That Every Tropical Party Has To Have Its Down Side As Well. The Record Was Also Released In The Us, Ecuador, Perú, Panamá, Mexico And Venezuela, And Probably Had An Influence Of Its Own, At Least In South America. The Cover Of This Lovingly Restored Reissue Features The Artwork For The Peruvian Edition, Which Was Licensed And Issued By Lima's El Virrey Label In 1974. The Original Fuentes Artwork, With A Far More Outrageous "Cheesecake" Image, Can Be Seen On The Back Cover.

In 1990 at a small recording studio located in the infamous Bazurto market in Cartagena de Indias Colombia, Mariano Perez aka the “bionic accordionist” and Champeta godfather Hernan Hernandez teamed up to create the band Grupo Renacer. These recording sessions would prove to be extremely fruitful culminating in the bands first self-titled album Grupo Renacer - Vol. 1 Ushering a new sound by blending local folkloric rhythms from Colombia’s Caribbean Coast along with strong musical influences and styles from the Greater Caribbean region and Africa the result was a blistering set that included songs like “Rastafara” “Las Amargadas” and the local hit “La Bolsa”. Capitalizing on their success Mariano Perez went on to record a follow-up album Grupo Renacer Vol 2. Songs like “El Colera” and “Uhey Le La” would further cement Mariano Perez and Hernan Hernandez as legends in the local “pico” aka soundsystem subculture scene that had taken hold of Cartagena and Barranquilla respectively. While both original albums remain elusive and under the radar, Worldwaxrecords has decided to compile in one single album the songs that we feel best represent the work and achievements of Grupo Renacer and the vital role this band has had in shaping Champeta soundsystem culture not only in Colombia but all around the world. Ironically the word Renacer in Spanish means “rebirth” or to be “reborn.” We hope that with this timely release we can commemorate the arrival of a new year and the beginning of a new dawn. ( By Sanjay Agarwal)

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