Nu-Jazz | Broken Beat Vinyl 279 Items

Inspired by mankind’s greatest adventure -- the Moon landing and, before that, the space race between the US and Ussr -- the LEM Tales project sees beat-maker and bass player Moonbrew join forces with organist and keyboardist Paolo Apollo Negri to create a sonic universe where hip hop meets funk, pop merges with jazz, old school interacts with new possibilities, and urban and space

Heralding the release of Memoirs of Hi-Tech Jazz, the forthcoming album by Detroit-born-and-based artist, Waajeed, the 12” features further examinations of the track’s motifs by the vaunted Detroit collective, Underground Resistance, Zambian producer SHE Spells Doom, and a special reimagining by Waajeed himself featuring live drums.

Alongside the LP version the three remixes further explore the links between Techno and Jazz, styles both founded on African traditions that make commentary on the present but are always oriented to potential hereafter.

On the People Mover Remix, Waajeed enlists the talents of Zo!, Tall Black Guy, Michele Manzo, and more to explore one extreme of the track’s musical heritage. Syncopated drums, driven by a full and bright snare drum, firmly place this version in the sphere of contemporary Jazz emanating from Detroit and cities across the US.

Coming from an album inspired by revolutionary efforts against oppression in Detroit and in Black locales around the world it is entirely fitting that Underground Resistance should provide their take on Motor City Madness. UR’s Mike Banks follows the lead of the original’s melange of genres. By thickening the bassline, peppering the mix with extra brass from the Mad Brass Horn Section, and adding strings courtesy of Six Mile Strings, UR further explore the dynamic intersection of music, history, and geography.

SHE Spells Doom closes the remix package with his second release on Tresor after his contribution to 2021’s Tresor30 compilation. The Zambian artist trims Motor City Madness down to the bones of the brass section and infuses them with a gqom beat, simultaneously referring to Jazz and Techno’s deepest roots in Africa, as well as suggesting where they might be headed in the future.

This winter, Detroit techno pioneers Octave One re-establish their introspective side-project Never On Sunday with a fantastic new double EP, Contemplate. It follows some taster remixes earlier in the year and shows another super side to the brothers’ famous sound. The Burden Brothers have been as busy as ever in 2021 with a third volume in their Locus of Control series, some new reworks and first Never On Sunday tracks since the 90s.

It is a project reserved for more pensive atmospheres and deeper grooves, so naturally came back to the fore during the quiet months spent at home during the pandemic. Although the iconic Octave One live act is back on the road, the pair have also found time to craft this first full Never On Sunday release in 30 years. ‘The Bearer’ (main mix) opens up in beautifully melancholic fashion. A wistful lead synth hangs in the air while a crisp breakbeat powers the groove along, but it’s Karina Mia’s stunning and tender vocal that really tugs at the heat. She again lights up the tumbling breakbeats of ‘Contemplate’ (main mix), her aching voice providing the centre point amongst the cosmic melody all around. Closing out the Side A, ‘Enterstella’ is an intriguing three minute ambient piece with gurgling machines and slithering synths taking you deep into another world. The fantastic ‘Price We Pay’ (main mix) is another celestial excursion with bright, lush cosmic twinkles and Mia’s heartfelt voice soothing your soul. The broad bass adds real weight then ‘A Moment of Truth’ slows things down to an absorbing and atmospheric pace. Majestic string sounds, astral lights and a gentle breakbeat sink you into a pensive headspace, then closer ‘Metal Forest’ leaves your brain feeling cleaned with its watery sound effects, glass tinkles and heavenly atmosphere punctured only occasionally by big, sonorous bell hitsThis cinematic EP proves that Never On Sunday is a perfectly thoughtful yin to the more energetic techno yang of Octave One.

Following their seriously strong debut release from rising talent & label mastermind Thatmanmonkz. We have an absolutely superb duo of reworks (and dubs) from the man himself & Chicago polymath Khalil Anthony, an author, musician and celebrated collaborator in theatre productions.

Emerging from the Toronto warehouse scene, Tush is a rising electronic music act powered by Kamilah Apong and Jamie Kidd. Taking inspiration from electro funk, early disco, post-punk and '90s house; their debut album 'Fantast' embodies the rawness, vulnerability, and intimacy of the dancefloor.
'Fantast' kicks off with the slow burning 'Wavy Baby', an invitation to get close, get intimate and submit to the groove: "Vulnerability is the key to us getting to that next step of intimacy". Up next is lead single 'Chrysalis', a high octane ride through a technicolour fantasy world of heady synths and driving rhythms that propel Kamilah's voice into an erotic stratosphere.
'Don't Be Afraid' is about having the courage to love defiantly, urgently, and with intention. Driven by Jamie's infectious bass lines and FX blasts, it smoothly transforms into an uplifting gospel-infused track.
Two high points of the album, 'Jessica F***' and 'Marathons', highlight Tush doing what they do best. These tracks are the sound of the warehouse scene that birthed the project in the first place and the late night jam sessions that were full of possibility pre-pandemic. Here, Tush really stretch their improvisational muscles - the interplay of raw soulful vocals, hypnotic basslines, synth pads, and heavy disco rhythms is at the core of what makes them so invigorating.
'Fantast' closes with the uplifting sunrise energy of 'My Joy', the light at the end of the tunnel. "This song is enchanted by the backing vocals of my friends and chosen family, who are my cornerstones to working through the wonderful mess that I am". Kamilah adds "The track gives me this feeling that - no matter how hard the world tries to beat it out of me - I can and I have had to work hard to cultivate my own happiness in my own sacred spaces - one of those being Tush. Ultimately, this is all I really need".

Welcome back our longtime friends on Mule Musiq.

Finland born now Berlin based producer Freestyle Man aka Sasse and no explanation needed, German house music producer Henrik Schwarz teamed up for their collaboration 12inch.

A side “Moat” feat veteran producer Jimi Tenor is elegant deep house and b side “dub 5” is German style dubby minimal House.

Hope you enjoy.

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

Ladi6, a New Zealander of Samoan origin, feels a deep connection to her homeland. And her homeland has suffered some tragic events in recent years: One and a half years ago, the South Sea paradise of Samoa was stuck by a Tsunami. Ladi6, whose real name is Karoline Tamati, was present when the wave of destruction arrived. A few weeks ago an earthquake, measuring 6.3 on the Richter scale, devastated the New Zealand city of Christchurch - the town in which her family lives. Again, Karoline bore witness to a natural catastrophe inflicting deep wounds on the soul of a population.

All the more surprising then, that 'The Liberation Of…' doesn't for one moment sound burdened or melancholy. Quite the contrary, in fact: It is an easygoing, feel-good album. The title of the record, however, suggests both the aim of the songs and the result, which their creation has achieved. For the album is exactly that, which its title suggests: Liberation.

The Mechanical Man is something of a hero amongst deep house heads, so US label Selections are rightly buzzed to have him on board. He opens up with a lively broken beat number lavished with a superb r&b vocal sample and sunny chords on 'Be Down.' He sinks into a more cuddly and smoky house groove on 'Let It Ride' and allows the pensive leads to take over as you head through the stars. 'The Night In The North Area' has a fresh bassline darting about underneath muted chords that bring a Detroit feel. Last of all is the soulful joy of 'You Know It's True', another one with a classic sample smartly worked into a scuffed-up deep house shuffle.

Manchester’s Walton returns to Tectonic following last year’s explorations in grime flavoured house/techno offshoots on the killer “Bulldoze EP”. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, “Gunman” sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release. Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home. The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks.

Amsterdam-based keyboardist, composer and owner of the Flowriders studio Vincent Helbers released his debut album ‘Hear To See’ as Seravince in 2013. A blend of broken beat, future soul and multiple adjective-jazz styles, compiled in a masterfully mixed 45-minute album. Now, 7 years later, the album is released on vinyl for the first time in a limited quantity of 150 copies. Seravince’s 'Hear To See' sees Vincent cultivating his extensive experience inside the studio. The album is deeply rooted in broken beat drum grooves, provided by longtime collaborator and UK drummer extraordinaire Richard Spaven. These are accompanied by the jazz-inspired harmonies and solos from Seravince himself. All musical elements are one takes, recorded on analogue tape. “I want the sound to maintain the rawness and organic vibe”, Seravince explains. The sensual vocals on the album are courtesy of RH Factor singer Renee Neufville (us) and Sharlene Hector (uk), who’s worked together with Reel People and Basement Jaxx.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as Quanza, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, Lyma, Misto Kay and Jazz n Dance.

Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after experiencing their new album, ‘Memória da Pedra Mãe’. Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous album (released by Saliva Diva in 2020) was recorded in Chaves,

in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones" found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that is both natural and conflicting, since it mirrors a tension between past, present and future".

The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards (acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in "Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka Azar Azar (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this music as part of a wider set of coordinates.

Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future is the best of all locations.

“While You Are There," is a re-interpretation of classic tunes from the esteemed jazz catalog of ECM Records, along with originals inspired by those songs. Rejoicer delved deep into ECM's vast catalog, listening to hundreds of albums, and carefully selecting tracks to reinterpret. Collaborating with artists who are also friends from the label, he composed new music inspired by the sounds that have defined ECM's legacy.

4 years after their groundbreaking debut album “Happily Confused”, Ghost In The Tapes return with a new full-length, “Holidays on Earth”. This new LP sonically expands multilingual hip-hop and rap towards spiritual jazz and uplifting electronica. Still following the same process of creation through international collaborations, they gathered 26 musicians and vocalists from all around the world, including Alabaster DePlume, Matt Gedrych (Neue Grafik Ensemble), Danalogue, Marysia Osuchowska (Levitation Orchestra), Susumu Mukai (Zongamin, Floating Points), Phil FMU (Vanishing Twin, Broadcast), The Brothers Nylon, Louis Treffel (ncy Milky Band), amongst many others. “Holidays on Earth” contains 13 new tracks that push the boundaries of hip-hop and jazz hybrids, 12 of which will be released on a limited edition of 300 LPs shaped by US designer Ruff Mercy (Nas, Thom Yorke, J Dilla, Nightmares On Wax…), via BMM Records on April 5th.

Yellow Jackets number 6 pushes things forward with two exceptional pieces by Byron The Aquarius and Deenamic. The modern jazz funk of the american keyboard wizard meets the relentless electronic futuristic programming of the elusive Deenamic! Like Yin and Yang meeting this release fuses the best of both worlds, keeping Yellow Jackets’ now notorious boundaries pushing edge on a phat loud vinyl, only 12’ inch!

The fourth instalment of Best Of Various sees Marcello Cassanelli join the TLM family with Fantasia. Marcello is joined by Blake Franchetto on Bass, Giulia Barozzi on Vocals and Antonio Rapa on Drums. Next up is good friend of the label Zarenzeit with Deep Work featuring Roger Versey on vocals, a very deep track for the dancefloor. Onto the AA side and another new member to the TLM family, Stefano De Santis has some broken beat action for us with his tribute to his hero George Duke. Future Jazz Ensemble are back on TLM after their Rough Time EP earlier this year with a track called Freeway, it's a sample of what to expect from their forthcoming TLM album early next year. FJE are now a three piece with Guido Tabone on Saxophone and Michele Macchi on Percussion, the sound of FJE is ever evolving with more members joining the Ensemble for the album. Final track is from the unreleased vaults at TLM, Caruso with Vestimenta, originally recorded in 2015 and restored by Jose Rico.

Future Jazz Ensemble is a project from multi instrumentalist Nicola Penna. With Future Jazz Ensemble, Nicola is exploring of the intersected sonic paths of jazz, ethnic and electronic music; trying to recall the past and evoke the future. His previous two Future Jazz Ensemble releases; The Mankind's Place 12" LP and Art For Art's Sake 7" were limited runs and are now very sought after. We are very proud to have Nicola releasing music on Ten Lovers Music and look forward to future projects.

“Dancing Around Fire” is the new album by LA-based drummer and composer Tommaso Cappellato in partnership with Pavimento Fertile, the Italian break dance collective founded by Paolo “Frigo” Montesi. Inspired by the energy of dance and improvisation, this album serves up a dynamic fusion of experimental soul and timeless grooves that command the body to move.This unique collaboration between dancer and musician was born out of Cappellato’s live performance at the Pavimento Fertile dance jam in 2021. Seeing how Cappellato’s rhythms brought out new layers in the dancers’ movements inspired Montesi to commission an album of original music that celebrates the culture of drum breaks and sampling which fuel freestyle dance.The album’s seven tracks, composed by Cappellato in as many days, take the listener straight to the dance floor. Cappellato weaves the soulful vocals of Lalin St. Juste (on “Made of Golden Light”) and Cameron Kinghorn (on “Heart to Mend”) alongside percussive electronic tracks (like “Battle Moves”) that emphasize the importance of the drum in unleashing the power of human expression.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s delivered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Alright’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Latin shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmering synth-strings, twinkling melodic motifs and glistening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sumptuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe continues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in waiting: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

The tune-whistling DJ collective Siffleur are back with two quasi-mashup remixes of retro pop that combine Italian nostalgia, soulful beats, and Jamaican jungle vibes. This is a brilliantly smooth and playful blend, perfect for chilling out and languorous dancing.

Broken District presents Jus Jam “90s Anxiety”, the first mini LP from the label co-founder, delivering a deep dive into his hazy musical world inspired by the 90s aesthetic. A true journey, ranging from UK garage to dreamy hip-hop beats, evolving somewhere between early-electro sounds and new-jack swing.

Mmyykk’s Science EP arrives at a time when the world needs it. The eponymous title track is about recognising the power and connection that we all have to the cosmos - and it feels like no coincidence that this body of work arrives in 2021.

The EP balances universal themes with playfulness; asks hard questions relating to accountability and materiality whilst remaining musically cohesive and funky throughout. An exceedingly difficult artist to pigeonhole, Mmyykk (pronounced Mike) works concurrently within the realms of soul, jazz, hip hop, R&B and ambient; his sound equally indebted to his fellow west-coast natives Thundercat and Flying Lotus as it is to synth experimentalists Herbie Hancock and Stevie Wonder.

Whilst Mmyykk operates as the multi-instrumentalist, vocalist, producer & engineer across all 6 tracks, we can still hear the richness of improvisation musical collaboration involved in the making of this record, with numerous cameos from artists in Mmyykk’s adopted hometown of Minneapolis as well as a feature from London’s very own Demae.

The city of Minneapolis, whilst not addressed directly in the lyrics, provided a backdrop like no other whilst this album was coming together. Being at the epicentre of such a tragedy had a profound effect on the formation of the EP... “The City was literally burning...” Mmyykk recalls as he goes on to explain that tackling themes such as police reform, reparations and accountability in his work is his way of taking a stand in the fight for justice.

Despite the grief prevalent in the city, the EP exudes a complex “dopeness”, executed so effortlessly it belies the skill involved in the process - it’s precisely this nonchalant cool that defines what Science means to the artist.

Whilst we can dissect the inspirations and trace the lineage of this body of work- the result is singular. It’s clear that Mychal Fisher, aka Mmyykk is operating on his own terms, in a lane of his own - and making it look easy.

‘saturday Specials’ sees the legendary Bristol drum & bass don Clipz remixing Everything Is Recorded’s acclaimed second album ‘Friday Forever’ in its entirety. Released Digital on 29th January via XL Recordings, ‘saturday Specials’ is Clipz’s first album length project and is a drum & bass masterpiece, split across three 12” vinyl editions. The album features a host of the original album’s vocalists and collaborators (including Berwyn, Ghostface Killah, Aitch, Sampha, Flohio and A.K. Paul) weaving in and out of Clipz's trademark future-facing productions.

‘saturday Specials’ sees the legendary Bristol drum & bass don Clipz remixing Everything Is Recorded’s acclaimed second album ‘Friday Forever’ in its entirety. Released Digital on 29th January via XL Recordings, ‘saturday Specials’ is Clipz’s first album length project and is a drum & bass masterpiece, split across three 12” vinyl editions. The album features a host of the original album’s vocalists and collaborators (including Berwyn, Ghostface Killah, Aitch, Sampha, Flohio and A.K. Paul) weaving in and out of Clipz's trademark future-facing productions.

The ever masterful London based DJ/Producer Shy One is back with a new 5 track EP titled From The Floor To The Booth. Following on from the fuzzy, acidic haze of the vinyl only Crumb Trail 7 inch the new EP encompasses futher rich and eclectic sounds of Shy's musical heritage, London leaning from Broken Beat to Soul, Garage to Grime. The record journeys through and abstracts a variety of styles, tipping its cap to the archtectics of Londons musical underground from Soul II Soul and 4Hero to Loose Ends and Roll Deep. A notion every bit apparent in Shy's eclectic bass heavy, hi-energy club selections. The record is Shy One's most in-depth and ambitious release to date. The artwork is created by Herald Essuman of Artbox London. An incredible London based charity that supports artists with Autism and learning disabilities.

The sophomore album from Honest LEE is a soulful excursion featuring many prominent guests including Javier Miranda of Empresarios, Matt Rippetoe and JOE Herrera, horn players for Thievery Corporation and former bandmates of LEE’s in THE Funk ARK, Trevor Olexy of THE MOD, Jerry Busher of Fugazi, Peabody alum and educator Delandria Mills, Growroom’s own Slanigiro Renguez, Baltimorean Troy Long, Elijah Jamal Balbed of THE Chuck Brown Band and from NYC, Mkmkmk, first call horn player for Antibalas. By bringing diverse instruments, moods, and guest artists to this venture, Honest LEE has created an instrumental cinematic soul masterpiece with his own stamp of collective musicianship. Consistently funky, the 12 track album is sure to please fans of modern funk, downtempo and soul. Super limited pressing, the 50th release on Growroom Productions.

"Offworld"is back after 20 years with a new album called "The Guru Walk" on Tasty Treats Records. This release is a real walk into Offworld music experiences where from the first track to the last one, he works to create a collection of electronic jazz tracks with different influences and moods. A side contains three EDM tracks including the title track "The Guru Walk" that is a real midtempo gem with deep chords,light percussion section and warm ambient pads. On the other side there are the longplay "tought vision" and the acid jazz influenced track "Ruzena". C side contains the hypnotic track "Lagos 3000" with afro influences,warm organ and synths and deep pad. The soulful "Siofra's Star" complete this side with broken vibes and melodies. On D side there are the deep and warm "Wahpanio" that is a dancefloor oriented track with latin influences and last but not least "Holy Portal" a jazzdance track with a groovy and powerful bassline,breakdrum and soulful chords.

Toronto native Demur is a master of groovy, funky deep house and has been since his fine debut TruSkool back in 2016. He has been busy of late with Visions back in March finding him collaborating with the likes of Fred P and Aaron Gray. Now comes another full length in Under The Waning Moon, another compelling mix of contemporary deep house sounds, well-sourced and deployed samples and elements of everything from jazz to funk to downtempo colouring the grooves. For steamy late-night stuff look no further than '21 Days A Hoe' while 'Wasted Wednesdays' is delightfully sunny and well swung for cosy back room vibes.

It works in clubs. it works at after hours. Also, small bars vibrate meaningful on it: the music of Kuniyuki Takahashi enthralls everywhere and is made for heedful listeners, that love the thrill of little musical nuances, shifting in a deeply composed ocean of sound.

In terms of composition, melodic sensitivity, and subtle progression the music of japanese producer, Sound designer and dj stands out. Ambient, Future-Jazz, Deep House, Leftfield Elec-tronics: since more then 25 years the man from Sapporo expresses his emotions with a wide stylistic range.

As Kuniyuki or under pseudonyms like Koss or Newwave project, he released a body of work consisting of numerous albums and EP’s, that display his deep musical consciousness pro-foundly. Now his home label Mule Musiq drops “Remix Works “, an eighth tune strong compila-tion featuring for the second time since 2013 Kuniyuki Takahashi’s very own virtuosity of re-mixing.

A double vinyl that carries the full pallet of his skills – from yacht rock leaning synth-pop and balearic dreams to sweet wave signals and soulful Pop House.

It all starts with Kuniyuki’s Remix of “Plateau”, a tune by japanese Nu-Jazz / Post‐Rock band mouse on the keys, released in 2013 on the short living japanese retalk label. An epic, almost ten-minute-long house voyage, full of discreet acid shades and enlightening Jazz chords, that play spirited tricks on each other’s manic musical preaching.

Volume 2: Another healthy dose of iconic reworked, retouched and edited tracks steamily rising up from the unique and magic poolside of Pikes Hotel (Ibiza). A trusted taste that has lead to Jazz N Palms warm-up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes. Jazz music fused sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and sun of the Mediterranean Sea.

Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Richard Spaven's
drumming has landed him gigs with vastly varied artists such as Flying Lotus, José James and
Mala, as well as recent recordings with Jordan Rakei, Alfa Mist and Sandunes. Unveiling his
forthcoming EP 'Spirit Beats', Spaven's musical talent is further demonstrated beyond his world-class
performance abilities, weaving his incredible technical skills into unique textured productions and powerful
compositions.

First single 'Hoodie Beats' begins amidst instant urgency. Atmospheric in mood, whilst relentless with its
accuracy, sub-bass locking into place with tight drums for a euphoric dance floor drop. Second single
'Nova' sees a continuation of the collaboration between Spaven and Jordan Rakei. Soul and substance
abound. Jordan delivers a delicate performance over the captivating harmony. Spaven says 'this is a
crazy beat to play. If you want to get technical - call it micro timing. If you don't - just call it hip hop'. 'Icarus
'88' brings a MC Barney Artist into the mix. Barney flows effortlessly over the micro shifted groove as
the tale unfolds. - synonymous with previous Spaven records, this ancestral drum beat of 'Spirit Beat'
soundtracks the sonic journey through this spiritual piece the harmony takes form, carrying the listener to
higher ground.

Spaven Will Release "Spirit Beats" Via Fineline Records On 25th of March 2022

PR Handled by Josh Byrne (DeepMatter, First Word, Gondwana...)

Tawoyame Orquesta celebrates their 15th Anniversary with new 7inch release from their new project! The guest remixer features Takeshi Nakatsuka. The band's signature song "Suteki na Ongaku", which was included on their first album, is newly sung by the leader Tomoko Okamura on the original track from 10 years ago!! The flip side features a remix track for the first time. "odo Latin" from the latest full-length album, "Shukuen Fifteen" (urdc82) is remixed by Takeshi Nakatsuka, a wizard of live sound. The remix is a swingin' and breakin' floor-ready tune!!

Artwork insert, in PVC outer sleeve.

Awanto3 (also known for his work with Aardvarck and Kid Sublime on Rednose Distrikt) returns to Rush Hour with "Party" Volume 1. Moody and rolling MPC work outs with live accompaniment from a solid cast (Jos De Haas (New Cool Collective) on percussion and Stefan Schmid (Zuco 103) on keys). Broken Beat heads look out .... this really smacks. TIP!

Backstory: Party was born in a small village located in Wallonia during a period of house-sitting for a family on holiday. Initially my mother was asked to take care of the chickens, goat, dog and donkey but eventually I decided to take care of them to relieve my mother. This week turned out to be a small nightmare, because I think the house was being possessed by a spirit that I had to deal with night and day. The vibe of the house was so grimy, due to the fact that there were calendars with all kinds of weapons and dark oak furniture, interspersed with a huge flatscreen and blinds at the ready to be rolled out when the sun started to go down (by request of the paranoid owner). This setting affected my sketches; a dark side that was looking for contra light weight. After I took care of the animals, I had an energy to escape to my MPC to make the basis for a possible new album. When I got back in Amsterdam, I started to work out some of the sketches I’ve made in the ghost house together with Stefan and Jos in Studio K at Sloterdijk.

Gilles Peterson : "Love this!"

2000black returns with two slices of ’23 grooves.’Soursop-Mango’ is afro beat house funkified the mr ranks & mr mensah way. Whilst ‘Straight Forward Side Steps’ is the minimal techno runnings that dj’s love to ride in the mix.

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions. The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (ltj Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz. He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreaux.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

The Dutch icon Orlando Voorn is releasing his second album for Deeptrax Records sublabel Contrafact! Having started his career in the early 80s with major influences of Parliament, Kraftwerk, Motown and P funk, he is now widely recognized as an ingenious (Detroit) house and techno producer with former releases on Juan Atkins’ Metroplex records and Kevin Saunderson’s KMS. "The Master 2" is an album that is heavily influenced by the deeper sounds of soul and funk.. Orlando Voorn has used aliases in the past to present and release various styles of music without limiting himself and is one of the most versatile producers out there. We are proud to team up with Voorn and release this album that captures soulful jazz, funk rhythms and perfectly fused with passionate vocals in a real jazzy Detroit vein.