Latin | Brazil 231 Items

Limited Edition.

Record is slightly warped but still enjoyable.
Includes glasses.

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.

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!

LOS Disco Duro are back with a futuristic/retro reworking of the Celia Cruz y Sonora Santanera guaracha classic "Pa' la Paloma" in their signature vocoder style. Robot vocals meet the laid back electro beat surrounded by FM synthesis for extra weirdness while the white hot timbale solo brings it all back down to earth. This soon to be collectible one sider is pressed on a limited edition clear flexi for extra space saving advantages. ¡No te lo pierdas!

Mi Conga es de Akokan is built on the Conga de los Hoyos rhythms from Santiago de Cuba. Saxophones and trombones alternate with vocals imploring the listener to dance over intensely syncopated percussion, leading to a melodic flight by the masterful trumpeter Reinaldo "Molote" Melian. The horns re-enter, and the Orquesta takes off to soaring heights of rhythmic intensity and sophistication. La Guajira is a slow country rhythm told by the tres guitar and percussion onto which horns and strings add slinking, narcotized harmonies. Pepito tells a sensual tale of romance with a girl from the country (la guajira), which slowly builds in intensity over soneos, coros and mambos until all parts interlock in a lugubrious climax.

This limited edition 7" collects three unreleased tracks from the recording sessions from Los Mambo Jambo's third album, Jambology: ‘Cayo Diablo’, ‘El Último Shimmy’ i ‘Experiment In Honk’. It was published on June 20th to support the campaign 'Salvemos Las Tiendas De Discos' (Save The Record Stores) promoted by Record Store Day Spain.

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.

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. The late composer, arranger, musician and record producer Nonato Buzar is a lesser-known great outside of Brazil. His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian ‘60s and ‘70s music scene, including Evinha, Elis Regina, Wilson Das Neves as well as reggae legend Jimmy Cliff. The awesome organ driven dancer ‘Cafuá’, with its zesty horns and sun-soaked vocal tones, is taken from Nonato & Seu Conjunto’s 1975 'O Som E O Balanço De Nonato’ album on Som records.

Most famed for his ultra rare 1973 track 'Lotus 72 D’, which Mr Bongo reissued in 2019, José Roberto aka Zé Roberto’s other 7 inch from the following year, also held a gem within its B side grooves. 'Crioula Multicolorida’, though not as scarce as ‘Lotus 72 D', is still a super hard record to track down and is equally as great. This anthemic ‘samba rock’ pearler, with its amazing breakdown and strutting groove, has long been a favourite amongst Brazilian DJs and collectors. The track also featured on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.
Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

This is certainly both a mysterious one and an elusive one! Who were Grupo Natureza (Nature Group), and why is this release such a rarity?

'Pode Acreditar' was pressed on Som Livre Records in 1981 and it is believed very few copies were released into the commercial market. Those familiar with the productions of Lincoln Olivetti and Robson Jorge will no doubt recognise their hallmark sound here and that this single is 'probably' the work of the pair or one member at least. They were a regular in-house production team at Som Livre at the time, and there is a definite resemblance to Adriana's song 'Sei la Amor' from 1978 which Lincoln Olivetti was involved in.

Very little information is available about this release. A tantalising comment by Brazilian collector ‘bargainvinyl1’ on the original release’s Discogs page suggests 'Pode Acreditar' was a reaction to the Baby Consuelo and Pepeu Gomes pro-marijuana song 'O Mal é o Que Sai da Boca do Homem’, which caused controversy with Brazil's governing military dictatorship at the time. Though condemning marijuana's use, the word "baseado" (joint) is mentioned in the song, and this could be the reason behind the release being pulled by the heads of Som Livre and consequently it becoming one of the rarest releases on the label.

Whilst its backstory is not crystal clear, it is an undeniable sun-drenched, laid-back boogie groove with AOR touches by the clandestine group. Pure 80s Rio-vibes, super-catchy and an earworm that sticks with you throughout the day.

For number 89 in the Brazil45 series, we present a no-nonsense Brazilian funk / samba rock double-sider courtesy of the mighty Golden Boys and Silvio César.

The Golden Boys were a quartet formed in 1958 by the Correa brothers; Renato, Roberto, Ronaldo, and their cousin Valdir Anunciação. They enjoyed a stellar recording career, from the 50s through to the 90s, with members of the group still involved in music to this day. For this selection we headed to their self-titled 1975 album released on Odeon and cherry-picked one of the group’s funkiest moments, 'Segura Na Cintura Dela (O Gavião)'. By now performing as a trio, they enlisted Paulo Debétio of Lemos E Debétio fame as executive producer and, on the controls, producer Milton Miranda. Miranda was a silent figure behind so many of the much-loved classic Odeon / EMI releases of the 60s and 70s.

'Beco Sem Saída’ is another Odeon release, and another classic produced by Milton Miranda. Taken from Silvio César's self-titled 1971 album, here the prolific singer and composer delivers a swinging samba rock / groove. With fantastic arrangements by Geraldo Vespar, this addictive swing was reconstructed in the 2000s when Drumagick sampled it for their track 'Sambarock'. So here we have two slices of Brazilian dancefloor pressure just waiting to take centre stage again.

If you order additional products from our site they will be sent out with 'brz45087', so please place a separate order for those. A: Lafayette – Sol De Verão / B: Marissa Rossi - Quem Vem Lá For Brz45087 we present a split release comprised of two tried-and-tested favourites from the Mr Bongo record bag. Rio-born pianist and organist Lafayette’s career started in the mid-60s and saw him become a prominent member of the Brazilian musical movement entitled 'Jovem Guarda’. For his inclusion on this selection in the Brazil45 series we move things along a few years to 1982 and the Brazilian boogie gem 'Sol De Verão'. Taken from his album 'Edição Especial’ and originally released on Copacabana Records, 'Sol De Verão' was written by Jorginho Gomes from one of Brazil's greatest bands Os Novos Baianos. It's a superb slice of 80s boogie/funk brilliance with a super catchy ear-worm of a vocal - definitely one for the dancers! For the flip, we include an absolute monster from the fantastic Marisa Rossi, who we featured previously on number 38 in the Brazil45 series. 'Quem Vem Lá’ is a heavy driving Samba Rock / MPB groove track with female and male call and response vocals. Originally released on a very rare and exclusive 7" also on Copacabana Records, but this time in 1971. Marisa would go on to work with the legendary Arthur Verocai in the 1980s. Two very different slices and styles of Brazilian music, but both absolute gems.

Our much in-demand series of classic Brazilian 45s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right. Number 81 is our Brazil.45 series sees further digging into the magical world of Jorge Ben's lesser-explored 1980's productions. 'Ma Ma Ma Ma Maé (A Lingua Dos Anjos)' is taken from his 'Alô Alô, Como Vai?' album from 1980, which is arranged, produced, and features keys by the don, Lincoln Olivetti. The song contains trippy lyrics singing about flying saucers and angels. 'Dona Culpa' finds Jorge featuring on a cool mid-tempo groove track taken from Cauby Peixoto's 'Cauby! Cauby!’ album (also from 1980). Singer Cauby Peixoto had a long and stellar career, recording and releasing music from the mid-1950's all the way up until his passing in 2016

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

For number 90 in the Brazil45 series, we share a couple of lesser-known discoveries that have become recent favourites here at Bongo HQ.

First up we head to the north of Brazil with funky Forró / boogie hybrid monster, 'Vendedor De Mangaios' by Josan. Originally released in 1981 on the album 'Rio De Renovações’ on Copacabana Records. This addictive dancefloor gem is still relatively under the radar, but it has become a firm favourite at Bristol's Worm Disco Club parties and amongst the DJ's and collectors of Brazil's underground dance music scene.

Taken from the illustrious singer Bartô Galeno's self-titled 1977 album on Tapecar Records, 'Vou Tirar Você Daqui' is an unusual one. Not easily pigeon-holed, the song sits somewhere between MPB / funk and rock, yet isn't really any of them. Backed with a big orchestrated sound and tripped-out synths, the track has a truly unique feel.

We hope you dig these finds. Another testament to the diversity and depth of Brazil's rich musical heritage.

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.

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

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

Neno Exporta Som’s super-rare compacto 'Deixa A Tristeza’ from 1971, has been high on the want-lists of Brazilian record collectors and DJs for years. This was intensified, along with a wider cult-following, following Floating Points dropping the gem on his amazing 'BBC Radio 1 Essential Mix’ back in 2015. Mr Bongo included 'Deixa A Tristeza’ on our Record Club Vol 1 compilation. Following that came many requests to release it back on its original ‘compacto’ 7” format. So finally, here it is for all to enjoy.
By sheer coincidence, also released in 1971 on Copacabana Records is Agnaldo Rayol's ‘Sumaúma’. A fairly un-known record which has the potential to become an underground classic. This epic track has a psyche break-beat drum and bass groove intro - just asking to be sampled! Along with lush string and horn arrangements and a soaring female/male vocal duet. This beauty has been a firm favourite in the Bongo office since we came across it and hopefully you dig it as much as we do.

"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."

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

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.

Highlights:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru'slegendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.This New Single Features Two Cover Versions Of Chacalon And Los Destellos Classics Recreated Here In A Faithful Yet Updated And Energetic Manner.It Anticipates Their Forthcoming New Album That Will Feature Guest Collaborations With Peruvian Legend Joseluis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.Description:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.'Maria Teresa', A Song Written By Roberto Zavala And Brought To Fame By Chacalon, Is On The A Side Of This New Single While We Find 'Cumbia Del Desierto' On The Flipside, An Instrumental Classic By Los Destellos That Money Chicha Recreates Here In A Faithful Yet Updated And Energetic Manner.This Single Anticipates Their Forthcoming New Album That Will Include Guest Collaborations With Peruvian Legend Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.

For number 92 in our Brazil45 series, we delve back to another all-time favourite track, 'Embalo Diferente' by Os Devaneios. This sublime funky Samba joint has always ignited the dancefloor for us. It featured on the band's 1978 album, 'O Conjunto Que Faz Você Vibrar’, which originally saw release on EMI. No crazy hype needed for this one, just a fantastic straight-up, no messing Samba Funk made for dancing.

We only know of four albums by Os Devaneios and for the A-side of this 45, we have selected one of our more recent discoveries with a track entitled 'A Beleza É Você Menina'. Taken from their 1979 album 'Raça Suor E Suingue’ (also originally released on Emi), it was recorded only a couple of years after 'Embalo Diferente’. Whilst it remains in that Samba mold, it has also taken on some of the vibe and characteristics of Soul, Brazilian Boogie and AOR from that late 70s and early 80s period. A feel-good and uplifting record, yet one which simultaneously has a hint of melancholy and is all the more beautiful for it. It's always good to discover a new song by an old favourite, and we hope you grow to love it too.

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone. A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others. He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners.

Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.
The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.
The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.
Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

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.

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment – with original copies of the 7” trading hands for upwards of £60.
Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri’s brother Charlie.
In an era dominated by disco, ‘Spirit Of Love’ took to the dancefloor, drawing on the glamour and magnetism of the late ‘70s. Palmieri’s distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. ‘Spirit Of Love’ is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!
On the flip ‘Lucumi, Macumba, Voodoo’ is a masterpiece of Latin fusion, with Palmieri’s unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it’s a recipe of Caribbean spice that’ll liven up any record collection.

“Frisina meets Toco” is the result of the artistic union of two main Schema Records’ characters, Gerardo Frisina and Toco, spontaneously born from many listening sessions of Brazilian music LP’s. The music contained in this 12” record stands in the middle between Rio and Bahia, merging together the Brazilian rhythmic culture and groove (Toco) with the modern sound of clubbing latin jazz (Frisina), and it’s also enriched by the presence of the young pianist and composer Vitor Araújo and his peculiar signature style, particularly apparent in the instrumental version of the song “Craque”.

Schema Records’ musician and producer Gerardo Frisina has certainly got the ability to play his own distinctive style without being repetitive, and this record is no exception. His skills in working with strong percussive and tribal elements have now delivered us this brand new collaboration with Schema songwriter Toco, the result of various artistic meetings in our offices, spontaneously born from many listening sessions of Brazilian music LP’s. The music contained in this 12” record stands in the middle between Rio and Bahia, merging together the Brazilian rhythmic culture and groove (Toco) with the modern sound of clubbing latin jazz (Frisina); the most observant will surely recognize a strong link in its cover artwork with the legendary 1965 LP “Em Forma!” by Bossa Três. “Frisina meets Toco” is also enriched by the presence of the young pianist and composer Vitor Araújo, whose signature style is especially noticeable in the instrumental version of the song “Craque”, which suddenly breaks in the middle and showcases a piano solo section that will leave you breathless! Another impressive effort from two of the most creative and revered Schema Records artists! - - - Gerardo Frisina, musicista e produttore di punta della Schema Records, ha senza dubbio la capacità di infondere il proprio personalissimo stile nelle sue opere, senza per questo risultare ripetitivo o ridondante, e questa release non fa eccezione. Le sue capacità nel manipolare elementi fortemente percussivi e tribali hanno dato vita a questa nuova collaborazione con il cantautore Toco, anch’egli di casa presso Schema Records: un lavoro nato spontaneamente da diversi incontri tra i due, e da svariati ascolti di LP di musica brasiliana. La musica contenuta in questo 12” è geograficamente a cavallo tra Rio e Bahia, e miscela la cultura del ritmo e del groove brasiliano (Toco) con il sound moderno del latin jazz da club (Frisina); l’interlocutore più attento saprà inoltre riconoscere un forte legame visuale con il leggendario LP “Em Forma!” dei Bossa Três. “Frisina meets Toco” è inoltre impreziosito dalla presenza del giovane pianista e compositore Vitor Araújo, il cui inconfondibile stile è particolarmente in evidenza nella versione strumentale del brano “Craque”, che si interrompe improvvisamente a metà per lasciare spazio a un assolo di piano che vi lascerà senza fiato! Un altro eccellente lavoro firmato da due tra i più creativi e significativi artisti Schema Records!

Mestizo Beat is highly influenced by rhythmic instrumental music from the late 60's/early 70's from all around the globe. In their new LP Canoga Madness you can expect to hear the influences from different countries such as Nigeria, Ethiopia, and Cuba mixed in with our gritty Los Angeles sound.

Their new LP is a continuation from their previous single, "Lizard Brain" released on Common Good Records. The LP was recorded at the band's studio The Roadhouse in Topanga, CA with mixing by Tim Felton (Surefire Soul Ensemble) at The Kitchen II and Sergio Rios (Orgone) at Killion Sound. The album will feature the single ""Canoga Madness'' also being the track that the band decided to name the album after. The group also has an additional single, a cover of Mongo Santamaria's tune "Featherbed Lane" previously out on Colemine Records.

In a world governed by stereotypes, Lachinos break down the boundaries between people and gender. It is impossible to clearly distinguish the origin, roots and cultures that are specific to each of its members. An association that turns out to be as unexpected as it is effective on their first EP America Lachina, out on Goutte d’Or, a sub-label of french team Cracki Records. America Lachina is also and above all an ode to Latin American music. One travels to the rhythms of merengue, cha cha cha, cumbia or even Brazilian surf, always with a musical commitment to rock accents.

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.

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!

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.

For Mancha 'E Plátano, la bomba is a transformative exercise, a way for this group of transplanted young women to teleport to the other side of the Atlantic Ocean, and step into the land of their birth, la isla de encanta, Puerto Rico. Bomba has become a way to be in two places at once for them, a tool of expression in their adopted city of Barcelona, itself a Mediterrean melting pot filled with diverse cultures and countless musical influences. Formed in 2018, the group has been studying and performing the bomba tradition alongside an adoring collective of multi-national musicians and collaborators, strengthening their reverential pride in this uniquely Caribbean cultural tradition. Their debut release was produced and recorded together with Names You Can Trust while in Barcelona at Nación Funk Studios, and contains one original composition, "No Me Da Pena," and one traditional, "Remigio Tombé." This balance of tradition and new growth represents their life and musical movements within the bustling borders of Barcelona. It is also a dedication to all those who are constantly fighting for their own representation and a thank you to those who have accompanied these talented women on their journey thus far, both on and off the island of Puerto Rico.

Newborn french label Raoi Records is proud to release for the first time a remastered and fully licensed compilation of the two sought after records of Joe Sembene: Heart of Africa & Weur Di Dane/Le P’tit Quinquin. Side A is "Heart of Africa" with the songs "Gorelle" & "Autrefois", two timeless and unparalleled afro/electronic tracks. The first song on Side B is "Weur Di Dane", a perfect blend of afro and boogie vibes. The voice of Joe's wife, Josy Sene, stands out all along the track, a pure bliss! This is followed by a cover of a traditional song from the north of France called "Le P'tit Quinquin", but Joe gives it a strong reggae twist in the vain of Serge Gainsbourg’s "Aux Armes Et Cætera"! However, it had little success at the time... After recording these two remarkable and hard-to-find 7 inches at September Records in Lille (Fr), Joe suddenly disappeared… Who knows where Joe Sembene is right now?

Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release, this famous album sells for several hundred euros in its original version, and even for the few reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the album O Imorrível, released on the Brazilian label Casona Produções.
It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier, founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo. The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”
Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly presented as what we believe will become the genuine long-awaited follow-up to the classic Di Melo’s LP.

1979. The suburbs of Paris. Five friends, whose origins stem from the West Indies and North Africa, came together to form Trenchtown Meditation, a “creole-speaking” French reggae band.
Heavily inspired by the seminal sound of Bob Marley, Trenchtown Meditation was one of the pioneering bands of the burgeoning French reggae scene. It was also at this time that France saw the explosion of pirate radio stations; like many other bands of the era, Trenchtown Meditation would play live sets on-air in these small radio shacks in between gigs on the various scenes of Paris and its vicinity.
The band also got their 15 seconds of fame in 1983 when they appeared on the French TV show “Aujourd’hui La Vie- ‘Spécial Exotisme’”.
It was during this busy period that the band recorded an 8 track reggae album (which to this day remains unreleased).
But in spite of their record and strong desire to make a living from music, the daily grind caught up with the band; in 1984 the guitar player quit the band.
Subsequently, the four members decided to rename the band ‘Cap’tain Créole’ with the aim – while remaining true to its reggae roots – of exploring new musical horizons, driven by the will to go beyond all that they’d done up to that moment.
The group had access to a professional recording studio and quickly decided to cut a new project. With the help of 3 new members – among them a sax player and a trumpet player, both coming from the jazz scene, who helped define the new sound of Cap’tain Créole – they recorded their unique outing called Ni Bel Jounin. It’s a single composed of 2 titles Fré Moin / Ni Bel Jounin, both sung in créole, which was clearly unusual for the time.
Both tracks are at the crossroads of many universes: Afro, Rock, Funk, Reggae and the result is quite unique! The band also used with great impact some subtle electronic elements.
Fré Moin catches you instantly while Ni Bel Jounin strikes the listener with its beauty. The spiritual vibe that oozes from the record is an obvious marker of their reggae roots.
Privately pressed and self-distributed in small quantities at the time, BeauMonde is proud to make the one and only record of Cap’tain Créole available again.

291out ensemble return on Fly By Night with another well orchestrated project by Riccio.
The latest release on FBNM, 291out - Habbanera is thematically inspired by the 1982 Italian film score, "No Grazie il Caffè Mi Rende Nervoso" "No Thanks, Coffee Makes Me Nervous".
It was originally composed by James Senese and directed by Lodovico Gasparini, "Habbanera" has only previously been released on Senese's self titled LP in 1983.
This four tracker includes two new versions of the main title theme "Habbanera" and two remixes by the two Italian pioneers of house music and the balearic sound; Leo Mas and Fabrice.
291out "Original Version" is a cover of the main score theme, which also features on Senese's 1983 LP; the "Alternate Version" is also taken from the movie, but from a different scene, which has the same melody of the opening theme but with a different rhythm, never having been released before and completely reassembled by 291out.
Leo Mas & Fabrice provide two different cuts, one pitched-down boogie slow jam and one 4/4 dance-floor banger.

Record with just a few paper scuffs.
Includes original insert.

The best kept secret of the new album by El Dragón Criollo, the jewel in the crown, a song that, like the best of Latin music, comes with dynamite, gasoline and candela for the dance floor as well as reflective and sensitive with the reality of our countries, especially Colombia, where the oppressed are getting worse and worse and those from above always fall on their feet. But let's not forget that dance is catharsis and a good song is the key that opens our senses. "Sentencia " plays this wonderful role, not in vain has it been the last song on the album to be finished with this objective clearly in mind and verified before the release and, gentlemen, the dance floor does not lie. People get lost in this pure fantasy. "Sentencia " goes beyond the ordinary, it is the product of the countless styles that Paulo Olarte has perfected throughout his career as a producer, at a sound and musical level, it has innumerable elements that have influenced his entire personal life and that, without a doubt, comes to shake us with its extreme flavor. "La Número Uno" Dedicated to love and the dancefloor, hot as the earth, a song with the intention of transmitting the most authentic vibes of affection with movement and party. “La Número Uno” arises from El Dragón Criollo’s love for the four women in his heart. At the same time, it does not skimp on fanning the heat of the track. An arsenal of classic elements of champeta and Panamanian reggae from the 90s. The presence of the classic Casio Sk-5 and samples that you will recognize instantly if you are a connoisseur of this real sound, the kind that ignites the rumba in the neighborhood. It is a dedicated theme to fill the energy track while dedicating it to your number one.