Latin | Brazil 181 Items

100-year-old Walter Gavitt Ferguson from Costa Rica is a living legend, a Calypsonian of mythical proportions. Rooted like an old tree on the caribbean shore, he has never left his home town to look for fame, instead fame came looking for him. Throughout eight decades his musical gifts have attracted people from near and far, contesting Calypsonians, travellers, musicologists, musicians, pilgrims and the president of the Republic. They once even moved a recording studio to his house, as he refused to go to the city. But many years before that, Ferguson used to sell his legendary self recorded cassettes to travellers and music lovers from all around the globe. He never kept a copy and with age startet to forget many of old compositions. A recently started, international "Tape Hunt" was able to locate more than 25 such tapes in Canada, Costa Rica and the United States and rescued 60 of his forgotten songs. Vol. 2 of this tropical treasure is now available, resurrected directly from original cassettes of the Calypso King.

Careful, “Let’s not get angry” suggests Spartaco Sax, the famed song accompanying French daily paper FRANCE-SOIR’s campaign against road violence: music isn’t that serious, often times really not. In any case, it is with this not so serious ear that one should listen to this selection of chachacha, mambo and other genres to twist and madison to, as music-lovers pinch their noses and block their ears. And yet, these breezy and light songs under their false airs of effortlessness draw out an astonishing analysis of late 1950s France with its partying baby boomers. Put on your dancing shoes, everyone on the dancefloor, let’s go baby.
The record starts out with an esoteric organ, a guitar straight out of a western, a vibey rhythm section, a speeding saxophone, a glamorous voice, a curious keyboard, a slightly panicky tempo… “Please Mr Hitchock!” calls out a voice from the unknown, on an arrangement that’s about to lose control.
The tone is set. Eins Zwei Drei, cries out Spartaco Andreoli, creator of the Chachacha for tunas, lyrics that are absurd accompanying music that isn’t so much so. And this is just the beginning. I can already see those making fun of it, and yes, I admit it does sound a bit comically-tragic, but more often than not, a persistent riff or melody will get stuck in your head, a chorus that you’ll start unintentionally humming, your foot that starts beating unbeknownst to you. “C’est bon ça dis donc !” (This is pretty good), suggest the Los Goragueros, at the start of their Mambo Miam Miam (Yum Yum). A smooth sax, a double bass that sways and shattering percussions, this song anonymously written by Alain Goraguer (there is often an “os” (bone), added to the band name for a little authenticity, i.e Los Chiquitos and Los Albinos) is actually quite tasty. This arranger and pianist who went on to write the indispensable Planète Sauvage (Wild Planet) is not the only one to have advanced half-masked in these tropical times. Just as Michel Legrand devoted himself to rock music, for better or worst.
Tropical music and France go way back. Indeed, this tropism for exotic music, not without the mannerisms that go with it, has been around. Just think of the period between both world wars, when the Paris of the roaring twenties fluttered to the sound of Latin-American orchestras. The influential Brazilian musician Pixinguinha came through in 1922, the charismatic Cuban singer Rita Montaner triumphed a few years later at the famed Palace and the brilliant clarinettist Stellio from Martinique had everyone dancing through the night to the beguine (a dance style from Martinique)… Seedy cabarets and fishy clubs mixing up different peoples and music until the early hours. From Montparnasse to Montmartre, dancing clubs bloomed throughout the capital while the World Exhibition sold a rather uncertain idea of the other tropics: a discounted and fantasized exotic dream of island life. It’s in bars like Jimmy’s, by La Coupole, or the Melody’s nestled in the heights of Pigalle, where Don Marino Barreto’s (Cuban pianist and singer who emigrated to Paris in the 1920s) orchestra made the heyday of a surreal and carefree Paris. Parisian Ray Ventura and his band Les Collégiens, quite the breeding ground for funny songs, at times almost delirious, were always a big part of the party.
And after the Second World War, it started all over again. Rico’s Creole Band was one of the great Creole orchestras to sway all of Paris, the Blomet Ball brought together the Afro-Caribbean communities, L’Escale became an essential dancing ground for lovers of Latin music, the pianist Eddie Warner was one of these pillars, accompanied by his “rhythms”, a “witty orchestra with 85% of French musicians, only the percussionists were South American”. Another jazzman, Henri Rossotti, also navigated in the warm waters of these gentle tropical shores. They covered sambas and mambos, adapting Benny Moré and Pérez Prado. Hot, like the hard-hitting Benny Bennett and his orchestra of Latin American music, which ended up being the training grounds of many apprentice improvisers. On the menu: calypso, merengue… and of course chachacha. Shortly after, the Los Machucambos, a South American band created in the Latin Quarter performed music between guajira and flamenco and its song Pepito marked the start of the trio’s success.
At the time, Latin-style combos were all the rage in France such as the chachacha which was officially invented in the early 1950s by Enrique Jorrin, soon followed by the pachanga, becoming a staple of black-and-white films. In the long run, this music has become a sort of French standard, adapted by many: Boris Vian oftentimes, Bourvil, Bob Azzam, Gainsbourg, Carlos (jokingly), Louis Chedid, Vanessa Paradis… Taking it a little far, you could even detect the beginnings of the french touch. This Chachacha affair is emblematic of the atypical history of popular music, that of back-alleys, far from the paths and furrows of glory. Music, raised from the grave and dusted off by the Born Bad record label. In terms of latin music, these records that were patiently found in flea markets are becoming a rarity, even if most are worth three euros and six cents: this low cost hobby is underestimated by licensed collectors, who run like lunatics towards triple-zero rarities.
Chachacha Transistor, predicted the unlikely Jacky Ary, known for his less digestible Mange des tomates (Eat tomatoes). With the approach of the 1960s, typical music styles were found all over the country, from the northern plains to the southern sea. Never failing to cheer up dances, nor to whet the appetite of a burgeoning industry, which often seized it by opportunism, not without a tinge of cynicism. After all, one must sell records to the desolate youth, at all costs and any price. These 7-inch vinyl records were therefore recorded at Barclay, Vogue and co. Low-consumption products intended to supply the shelves of budding suburban supermarkets. The idea was to convert a North-American trend in the studio, by summoning old geezers (Paul Mauriat under the pseudonym of Eduardo Ruo, at the top of the list…) who would play young and interpret these rhythms with a distorted vision. All for just one season and all this before summer hits were a thing. It was already the same idea though, but in more of a D.I.Y fashion. A quick fix, just enough time for the producers to get some juicy revenue, the same ones who recruited teams to perform these “inferior” works. Most were flops, but a few made it big such as Jean Yanne answering to Henri Salvador for Allo Brigitte, a classic of the “comic-musical” genre. It’s author Norma Maine went on to write quite a few of these quirky songs.
Most had improbable dialogue, as well as senseless adaptations such as the Marchand de melons (The Melon Merchant) distorting Herbie Hancock’s Watermelon Man, a result of automatic writing in order to come up with ridiculous lyrics. What can be said about Tarte à la nana (Girl Pie), and how about Ça c’est du poulet ? (This is Chicken?) Or the terrible Soukou Soukou, on the limit of bad taste, words of a colonist… When it comes to reappropriating foreign know-how, the results can turn out strange like a surreal shock of cultures. Improbable mixes, like chacha bebop, latino tempo and scat jazz… It all definitely swings and is sometimes even quite impressive. Because magical loose moments are to be found in these records made to order, records that were just trying to recreate a successful pre-existing North American formula. They recorded them on the line, in the original spirit, or inconspicuously modified them, not only for fun, but also for the pleasure of adding on a chorus which would take the song a little further, or a well adjusted rhyme that would denote a touch of derision, a French tradition that was to be repeated in rock as in punk, and even bossa nova. The key often being explosive arrangements, occasionally beautiful choruses, radiant mishaps, confusing mistakes, not necessarily off-topic, all in all some sweet musical trips that always have an effect on the dancefloor when it’s time to boogie. Try it out, you’ll see, it works every time, if you don’t abuse of it. Moderation is recommended for this music that should be served either at cocktail hour or after midnight…

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 Edition.

Record is slightly warped but still enjoyable.
Includes glasses.

Still untouched by human settlement barely 500 years ago, the islands of the Southwest Indian Ocean, Mauritius, Reunion Island, Rodrigues and the Seychelles were colonized by Europeans (French, English and Dutch) from the end of the 16th century on and operated as trading posts on the Indian route. Slaves were deported from Africa and Madagascar to cultivate coffee, spices and sugar cane. On the margins of the plantations, during clandestine gatherings, they exorcised their daily lives through percussion, singing and dancing. It is the tschiéga, chéga or sega, from Mozambique and Malagasy influence.

The gradual appropriation by the Creole populations of Western instruments and European melodic traditions (quadrilles, waltzes, polkas, scottish, romances, mazurkas), as well as the cultural contribution of committed workers from India laid the foundations of the modern sega.

This crossroads of influences was to continue to grow, especially from the 1950s, when the first phonographs arrived, playing all kinds of varieties but also jazz, soul, rock'n'roll, and even Cuban or Brazilian music.

For the Sega, these were the first steps towards a period of intense creativity that would cover the 1960s and 1970s. Amplified instruments arrived, and electric guitars, basses, drums and keyboards quickly replaced violins and accordions. Record production exploded and saw the advent of many micro-labels featuring genius arrangers such as Marclaine Antoine, Gérard Cimiotti, Eric Nelson, Claude Vinh San, or Narmine Ducap who explored the Sega in its many facets. Psychedelic keyboards, fuzz guitars and undulating basses invited themselves on the furious ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, to produce a unique style.

Here are some pearls from this golden age of the segas of Mauritius, Seychelles and Reunion Island that are compiled in this volume 2 for our greatest pleasure!

The album that you now enjoy has been compiled by El Palmas & El Drágon Criollo an begins with the theme that every afternoon, starting at 6 O´clock, all the youth of Caracas waited anxiously: “Introduction Theme” by Los Supersónicos was the wake-up call to introduce the charge of surfing that that later it would explode in El Club Musical.

And from the same group, another of their greatest hits is included, such as “Rosas Rojas para una Dama Triste”.

The Dangers were in charge of entertaining many youth parties in Venezuelan society. Their great success was “Congratulations”, an obscure Ricky Nelson song, of which they made an excellent cover. And to demonstrate the great influence of the British group The Shadows - present in all the youth bands of the time - here they shine with their recreation of the song “González” The Blonders were by far the possessors of the purest and most crystalline sound among the surf groups in Venezuela. A bold and highly imaginative arrangement of the classic “Lamento Borincano” is enough to justify its inclusion in this compilation.

And although The Impala came to have the most aggressive and rock-and-roll sound, here they show another facet of their music with the songs “Triste” and “Desafinado”.

"La Danza del Agua" (The Dance of Water) is an eclectic musical journey through Latin American experimentalism - a sort of unofficial companion to the Anthologies of Atypical Portuguese Music volumes but focussing on South American music themes instead. Originally released as two volumes on digital and tape versions on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia & Venezuela.

The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.

I didn’t even know of the existence of that universe until an Australian DJ and producer by the name of Carlo Xavier dragged me deep into this whole new musical world. Ant it all began in Belém do Pará. Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.

Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.

Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.

To reach a larger audience, the music needed to be broadcast. Radios began targeting the taste of mainstream audiences and played music known as “music for masses.” As the demand for this music grew, it led to the establishment of recording companies. Belém’s infant recording industry began when Rauland Belém Som Ltd was founded in the 1970s. It boosted a radio station, a recording studio, a music label and had a deep roster of popular artists across the carimbó, siriá, bolero and Brega genres.

Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.

The history of "Jambú e Os Míticos Sons Da Amazônia" is the history of an entire city in its full glory. With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.

“Jambú is a plant widely used in Amazonian and Paraense cuisine. Known for having an appetitestimulating effect, it is added to various dishes and salads but is most famously one of the main ingredients in Tucupi and Tacacá, two delicacies that have been immortalized in countless Carimbó songs. Chewing the leaves of the Jambú plant will leave a strong sensation of tingling on the tongue and lips. Indigenous communities have relied upon its anaesthetic qualities for centuries as an effective remedy against toothaches and as a cure for mouth and throat infections. A decade ago, a distillery from Belém discovered the euphoric effects of the Jambú plant when combined with distilled sugarcane based spirit - known as cachaça - and created the now legendary “Cachaça de Jambú“.

Reaching out to the real roots of the Jamaican sixties musical explosion…
Some of the originators of the genre, including Ernest Ranglin, Lennie Hibbert & Cecil Lloyd, playing in their element and demonstrating just where they're coming from

The third installment of our "Instrumental Gems" compilations is finally out, focused on discovering treasures of instrumental music recorded in Spain during the 60s and 70s. Those were years when a significant number of orchestras and dance ensembles proliferated in Spain, most of which barely managed to press their songs on vinyl, but if we look deeper into the catalog of small labels of the time or self-released singles, we find pieces of undoubted quality. Many did not have a commercial course since the orchestras used them basically on a promotional level to get concerts or generate copyright, and it is for this reason that they are so hard to find for collectors of the genre. Most authors opted for pasodoble, swing, groove and Spanish soul, being bossa nova a genre less used in their compositions. The purpose of this compilation is to highlight a hidden treasure among those wonderful EPs, instrumental jewels that drink from the simplicity of bossa, to flirt with hotter rhythms close to Latin jazz, an explosive mix hidden in the 14 cuts of the LP.

El Salvador, the last frontier... the psychedelic revolution also reached this small country from Central America in the 60s, resulting in the formation of many teen garage bands. Until now, little was known about this amazing local music scene that took place in the late 60s and early 70s... a true musical revolution. Due to the lack of resources, musicians often had to build their own fuzz and effects pedals and in studio recordings, primitive tape experimentation and echo were often used... the result was a very unique sound, 100% raw & wild. Hear tremendous fuzzed-out covers of Doors, Blue Cheer, Country Joe & The Fish or Alan Bown along with cool self-penned songs. All tracks taken from very hard to find 45s, most of them unknown outside of El Salvador until now. Feat: Kiriaps, Los Saltos, San Miguel, Los Vikings, Los Rebeldes, Los Junior’s, Los Intocables… Includes color insert with detailed liner notes in English/Spanish and cool photos.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s.

Surprise!! This is number 7 of this 6 x 45s collection !!

With this new releases you will be able to complete your complete series, but be careful that you will not be able to fit it into the mosaic!

Do not hesitate as this new release in a limited edition of 500 copies will make you enjoy the sounds to the fullest.

TT Syndicate steps forward big time into the direction of early '60s rhythm'n'blues, with the addition of a solid stash of early soul.

Tropicantesimo is a music ritual extended over time and a celebration of sound and dance. It all started 10 years ago at the Fanfulla club in Rome. Nothing more than a party that over the years has transformed into a collective listening experience out of time and space. Meanwhile the collective animated by DJ Hugo Sanchez, Lola Kola, Rocco Bartucci, Gabor and Egeeno moved to a new club called Pescheria, and opened up to spontaneous live jams and collaborations with musicians and DJs from various backgrounds. Rhythms are incessant while the BPM is slow and hypnotic. Voices flow between songs, messages and pure sound, while music is an organism which produces energy. The fruit of all this lives through extensive production work based on recordings collected over the years. "Tropicantesimo Session 1" is the first of a series of three EPs presented as anticipations of the Tropicantesimo Gitania album release. This first EP contains three songs recorded and mixed at Pescheria, laboratory and home of Tropicantesimo. "Don’t Bla Bla Bla" is an anathema and an explicit manifesto about the need for uncompromised sounds and joy in life. When the music kick in, the usual blah blah blah becomes disturbance, as Lola Kola and Egeeno clearly sing. This is a spontaneous live session, an usual practice that generates the Tropicantesimo sound flow. "Samba e Amore" is a cover of a Chico Buarque and Ennio Morricone's song, written in the late 1960s during Buarque exile in Rome. Here the song has been processed by the Tropicantesimo sound machine with Gabor and Lola Kola claiming for freedom and self-determination in life. "Samba and Love" belongs to the Tropicalist music classic repertoire, a great inspiration for the Tropicantesimo sound and vision. "Luna Jamming" is the result of another kind of experiment. Here the DJ culture is hybridized with the improvised live performance, a meeting that can generate unpredictable encounters. Lola Kola and Egeeno bring Loredana Bertè and Bob Marley together for an unprecedented classic Reggae duet on a contemporary techno dub beat. Needless to add that such a combination of elements generates new visions and reaffirms important values such as sharing and getting together.

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving remaster and repress.

Highlighted here, the joyous family flavours of Trio Ternura and a samba-funk masterclass from Eliana Pittman, cut loud and proud on either side of a seven inch.

First, we have the uptempo funk-soul sounds of ‘Vou Morar No Teu Sorriso’ courtesy of sibling group, Trio Ternura - taken from their self-titled 1971 LP. Comprised of sisters Jussara, Jurema and their brother Robson, this track is a real favourite of ours and a regular spin in our DJ sets. Tight drums, breaks and percussion lay the foundation for those jubilant vocals, funk-powered organs, punchy horns and grooving bass to transport you to sandier shores.

On the B side, a slice of dancefloor samba-funk-MPB radiance from Eliana Pittman with ‘Quem Vai Querer’. Originally released in 1977 on RCA, the rolling samba groove, layered percussion and lovely lead vocal from Eliana build into a carnival-flavoured chorus to lift even the lowest of moods.

Since 2019 the collective of Parisian partygoers, Pardonnez-Nous, have decided to launch their own label. Just like their parties, their goal is to shine a light on dancing music.
Constantly looking for new tracks to enlighten the dancefloors, their outings are in line with the vision of deejaying defended by its founders. Finding forgotten pieces that are the geneses of dance music and mixing them with more contemporary sounds. Re-editions, edits, remixes or original productions the label doesn’t just stick to one style but aspires to represent all the music of partying!
Mexico, Peru, Surinam, and of course Sweden: in 1986, musicians from around the world responded to the Swedish composer, arranger and multi-instrumentalist Torbjörn Langborn’s invitation. His idea was to bring together the two groups he played with: a jazz quintet, and his salsa ensemble.
The cocktail was explosive: after several days recording at the Humlan studio in Stockholm, Torbjörn Langborn & the Feel Life Orchestra produced an eponymous album, combining, in Langborn’s words, “disco and funk with congas and Batá percussions.” The B side was a three-part gem nearly seven minutes long titled “Feel Life”, where he gives free rein to his talent as a jazz pianist. Thirty years later, we asked the famous remixer Dimitri from Paris to express is talent to produce a new version of this classic music track. "Pardonnez-nous", here it is.

If you order additional products from our site they will be sent out with 'Toni Tornado - 'Sou Negro' / Zeca Do Trombone 'Coluna Do Meio'', so please place a separate order for those. For volume 86 in the Brazil45 series, we return with a pair of stellar 1970s Brazilian-Funk / Black Rio nuggets by two of the greats of the genre, Toni Tornado & Zeca Do Trombone. 'Sou Negro' (I'm Black) is taken from Toni Tornado's (aka Antônio Viana Gomes) sought after 1970 four-track compacto EP on Odeon Records. Already having had some experience in show business as a dancer in the 1960s, Toni started his musical career in 1970 and adopted the stage name 'Toni Tornado'. The influence of James Brown flowed through his music, with Toni becoming one of the first Brazilian artists (alongside Tim Maia) to introduce the soul and funk sound into Brazilian music. Together with other contemporary musicians and bands such as Banda Black Rio, Gerson King Combo and Cassiano, this new sound led to DJ's throwing soul parties. This unique Brazilian take on soul and funk (and later on disco) became coined as 'Black Rio'. A movement that celebrated pride in its Black identity and consciousness. Zeca Do Trombone has an impressive repertoire which has seen him releasing a handful of solo albums and working with some of the greats of Brazilian music, such as Tim Maia, Ivan Lins, Joyce, and Luis Vagner. The track 'Coluna Do Meio' is taken from his 1976 collaboration project 'Zé Do Trombone E Roberto Sax' with saxophonist Roberto Sax, which additionally features the heavyweight Wilson das Neves on percussion. This catchy Wah-Wah guitar-led dancer has become a favourite with DJ's over the years and will continue to be championed for years to come.

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.

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.

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).
Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.
Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.
Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.

Tampo is a mystic sextet from somewhere out of the hustle and bustle of the busy Helsinki scene. They operate on a level of their own, performing latin jazz inspired by cumbia and mambo. This 7" single release by We Jazz Records features two high calibre cuts, "Keumgang" and "Tampomambo", making this one a solid choice for all lovers of psychedelic music with character.

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.

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.

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.

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

Clear Vinyl.

Clear vinyl.
Records are slightly warped but still enjoyable.
Dogeared cover.

An album about his "love for Brazilian music and its many shapes and colors," Sao Paulo-born Sessa's debut Grandeza sets the scene for who The New Yorker called a "songwriter cut from Veloso's mold and blessed with a flair for the intimate, the enigmatic, and the licentious.' Long out-of-print, Mexican Summer continues its exploration of Sessa's musical vision with this special Fifth Anniversary Edition on Pink + Purple Splatter Vinyl (limited to 1000 copies). Sung in Portuguese, with visceral, sensual lyrics in the vein of Caetano Veloso and the lush melodies of Tom Jobim, Sessa’s sound, by contrast, has a deliberate minimalist treatment rarely found in contemporary Brazilian music, more reminiscent of the bareness of Leonard Cohen. Sessa propels Grandeza’s devotional sounds towards decisively modern territory.

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...

A download code is included. Satanique Samba Trio is an instrumental Brazilian quintet that deconstructs Brazilian folklore & with free jazz and punk aesthetics, a soundtrack that reflects the country's current political feeling.

Yellow marbled vinyl! Includes slipmat!

This new 7-inch by S-tone Inc., that includes two brand new tracks, confirms Stefano Tirone’s 20-year old collaboration with Brazilian songwriter Toco. “Try My Love” is a fluid, relaxed and dreamy funk song that blends soul jazz with a ‘70s downtempo drumming groove. “Odoya”, featuring Toco on vocals, is a bit more faster composition, that would perfectly fit as a soundtrack of a typical Italian police movie from the same decade! Simply fantastic!

Stefano Tirone is an eclectic artist, open to a wide range of different music genres. This new 7-inch, that includes two brand new tracks, confirms his 20-year old collaboration with Brazilian songwriter Toco. Working on these songs for Stefano was like going back to the years when he used to listen to Acid Jazz music, especially to the records produced by the Mizell brothers. Their influence here is obvious from the first notes: the funk in “Try My Love” is not as high-fueled as in James Brown’s songs but, as the legendary brothers taught us, by blending a hint of soul jazz with the ‘70s downtempo drumming groove, we get a fluid brew, relaxed and dreamy. This is exactly what “Try My Love” is about. “Odoya”, featuring Toco on vocals, is a bit more faster composition, that would perfectly fit as a soundtrack of a typical Italian police movie from the same decade! Simply fantastic! - - - Stefano Tirone è un artista eclettico e aperto a una vasta gamma di generi musicali. Questo suo nuovo 45 giri, che contiene due nuove tracce, conferma la sua ventennale collaborazione con il cantautore brasiliano Toco. Lavorare a queste canzoni è stato per Stefano come volgere lo sguardo agli anni in cui era solito ascoltare dischi della scena Acid Jazz, specialmente quelli prodotti dai fratelli Mizell. La loro influenza è evidente sin dalle prime note: il funk di “Try My Love” non è carico di energia come quello di James Brown ma, come i leggendari fratelli ci hanno insegnato, dall’unione di un pizzico di soul jazz con il groove di batteria ‘downtempo’ tipico degli anni ‘70 otteniamo una miscela fluida, rilassata e sognante. Esattamente ciò che si respira in “Try My Love”. “Odoya”, brano che vede la partecipazione di Toco alla voce, è una composizione dal ritmo leggermente più sostenuto, perfetta come colonna sonora di un tipico ‘poliziottesco’ italiano! Eccezionale!

Second elease on newly minted Souk Records (Discrepant), coming swiftly after the mind blowing Palestinian beat LP Muqata'a Inkanakuntu (SOUK01). For the second release we chose someone who is already part of our Discrepant family - the Colombian tropical masters Romperayo aka Pedro Ojeda.

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!

High Quality pressing in vintage silk screen sleeve. Latin orchestra meets Greek bouzouki!!! A true hybrid musical dream, emerging and blending the sound from the migrant communities of 60’s New York. Greek bouzouki wizard Yannis Tatassopoulos injecthis electrifying playing into the Latin beats of Roger 'King' Mozian. Together these dukes of sound generate a tornado! Non-conventional and ultra refined crossover madness from the Space-Age. Mambo Gi-tano!

Roberto Laneri's works always convey a clear artistic certainty: a total composer with an eclectic cultural background. In this latest adventure it seems to propose a kind of weird and curious Exotica music; his Mediterranean ragas release glows and shadows, but the music plays more the plateaus of the Maghreb than the Indus Valley. Like a sorcerer piper, the sax shapes alchemy and hypnotic phrasing become: vague dances of camels, ecstatic progressions of an aboriginal vortex or a mystic arabesque tropicalisms. He doesn't neglect his training as a jazz clarinetist, with gentle and smooth orchestral veins that are decidedly retrò and old-style; remembering the dreamlike compositions of Nino Rota for Fellini's movies. There is no lack of esoteric voices from distant islands, Amazonian soundscapes, or rocking Brazilian moods. Laneri filters hidden traces of different traditions, creating unknown geographical syntheses without borders, furious extrapolations of compositional elements and famous themes misrepresentations. A visionary gaze, but also a good dose of ironic plaesure and fairytale humor. Not surprisingly, the original cover-art of Noura Tafeche does nothing but suggest the idea of a tasty psychedelic fruit-salad.

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

Oakland's own Ritmos Tropicosmos follow up their excellent debut single with another pair of cumbia groovers. Since their first release, ELI Reyes and Lesli Rodriguez have joined the lineup and are featured on vocals in this latest offering of bass heavy Bay Area psychedelic cumbia!

High Quality pressing in vintage silk screen sleeve. Fiestas is an ultra catchy foxtrot by the Colombian clarinet player and ar-ranger Ricaurte Arias.This American-style swing spiced up with a layer of Colombian sauce is an irresistible ear worm that takes the concept of smoothness to another level. Definitely the foxiest of all foxes.

Reissue from 2021 without OBI.

Renata Lu is a bit of a mystery figure... She only made a few albums in the 1970s and sang backup on many more such Tim Maia and Nonato Buzar but for whatever reasons never seemed to make it into the MPB upper echelons. Debuted solo in 1971 on her self-titled album for Copacabana Records with a heavyweight fusion of US style soul and funk with added Latin percussion. This features Renata Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. Rare LP finally reissued on a deluxe edition. One of the landmarks of Funk Carioca.

The legendary music publisher KPM, famous for its iconic music library catalogue, commissioned a group of musicians in 2018 to write and record an authentic tribute to the early 70’s Latin Soul Boogaloo. Although not intended for commercial release, this vinyl LP is a limited pressing of just 500 copies and features 15 new grooves inspired the greats of the era such as Tito Puente, Ray Barretto and Machito. Ray Lopez and his band recorded the session in the traditional way using the same microphone direct to reel tape. Vamanos!

We are excited to welcome Orestes Gomez to the Olindo ranks with his sublime remix for Raúl Monsalve y los Forajidos "Bocón", featuring the distinctive vocals of Luzmira Zerpa, fusing neo soul, jazz and Venezuelan drums.

180g pressing

"Created by Marc Brown and Chris Franck, this track marks the first release from their forthcoming album. You may know them from their Smoke City days or from Marc's KV5 releases and Chris as Da Lata.
This limited release seven inch represents a rebirth of the Humble label, an imprint Marc began in the 90's through the broken beat specialists Goya distribution.

The track is a mid tempo electronic Afro-Brazilian song which features the vocals of Sérgio Pererê, an artist hailing from Belo Horizonte, Brasil. The vocals were recorded in Brasil and the link was forged through Chris's Brasilian music connections.

The B side sees London based Reggae supremo Gil Cang dub out the rhythm in a heavy manner, Gil is in house producer at Tuff Scout and long time Mannaseh collaborator."

Brazilian music at it's finest! 2x7" set with four beautiful songs from Piry Reis. Disc one is a reissue of his 1975 "Heroi Moderno" and includes the sought after 7inch version of "Cisplatina". The second holds the rare cuts "Reza Brava" & "Céu De Manágua". The project came together with the blessing of Piry Reis himself and is released on the sub-label of Rush Hour recordings, New Dawn - set up for less electronic but equally adventurous releases by artists we love. Artwork by Amsterdam's Sekan with a touch by Megin Hayden.

Sealed copy!

Copy closer to NM

“Home studio experimentations in Electronic Jazz from the 80’s/90’s! All instrumentation played by one of Spain’s most cherished singer/songwriters & Dolores member”
Spanish Maestro Pedro Ruy-Blas is a cherished composer and singer in Spain, well known for his part in the seventies fusion band Dolores. Since the age of electronic music making and home studio, Pedro bought the latest equipment and started making his own music. This compilation features a varied selection from his own tapes dating 80’s and 90’s – It’s DIY Electronic Jazz music emphasizing organic textures and utilizing the latest of Midi and sequencing tools, echoing those days of Dolores. Comes with digital download limited to 500 copies.