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Vaudou Game is back with a Funky Afro Cumbia 7 inch release !
First single of their 5th album, the french afro funk band's influences have spread beyond the city and country limits, crossing the Atlantic to reach Colombia and the afro latin world.
« Afro Cumbia » is one of the new musical direction took by the band.On the track «Râler» helped by the brilliant voice of the Spanish-english singer Clara Serra López, you'll hear the funky fusion between high-life guitars and typical cumbia guiro and bass. An original soulful duo sharing Spanish and Mina lyrics.
Koliko is a tribute of the west African street food and specially the sweety donuts , you can find in the morning in Lomé or Cotonou. "Nana Benz du Togo" band are invited to sing the chorus on this funky highlife dj friendly anthem .
Recorded on analog equipment at Otodi Studio in Lomé (Togo)
From the album "Fintou" (out January 15 th 2025)

Japanese pressing with obi and insert.

Japanese pressing, no Obi.

Original Japanese pressing.

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.
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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.
Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.
Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

GLK: My brother Jason Wool and I have been working on this unique collaborative 33 minute, 9 track avant-garde experimental jazz, meets bass music, meets sound design madness, like nothing you’ve ever heard before! Featuring original artwork by Cryptik!

Bandcamp: "Wild, mind-bending meld of hip-hop, cinematic jazz fusion, and psychedelic fuzz. Celestial fragments of cosmic dust hang in the air over a barrage of irresistible bass lines and sculpted beats."

Almachrome: Kelly Hibbert of Almachrome mastering said this of the music: “Imagine something like Stanley Clark, David Axelrod, and Aphex Twin – if they were all 20 years old today and they got together to jam while on heroic doses. Absolute face-melting mayhem”

Japanese pressing. Vinyl is close to NM.

Japanese pressing without OBI, with insert.

Original Japanese pressing. Cover with light ring wear

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. ). Together they weaved a mainly instrumental blend of Jazz funk, reggae and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD.Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

Note: INCOMPLETE!
Side A&B is missing, side C&D only.
Includes inner sleeve with small seam split.
Cover as new with slightly dented corners.

Record has many hairlines and surface marks

By the time he recorded GO! in 1962, Dexter Gordon had already lived several lifetimes in jazz. He was among the first to adapt the language of bebop to the tenor saxophone in the 1940s, but after a decade in which personal troubles limited his output, he signed with Blue Note in 1961 and began a run of essential albums that marked a rebirth for the tenor giant. Featuring a quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums, GO! was a showcase of Gordon’s limitless creativity on hard-swinging numbers like his great tune “Cheese Cake” and a sure-footed version of “Love for Sale,” as well as his peerless artistry on ballads as evidenced on stunning takes of the standards “I Guess I'll Hang My Tears Out to Dry” and “Where Are You.”

Nostalgia Blitz' is a record born from a wild collection of ideas and influences drawing on an alternative saxophone universe from Benjamin's formative years. Benjamin Herman explains: "When I picked up the saxophone in 1980, it was the coolest instrument on the planet. Every band had a saxophonist, usually dressed in an oversized pastel-colored power suit with rolled-up sleeves. Besides an abundance of sax heroes in pop, fusion and jazz music, the 80s also had individuals who did it all their own way. James Chance, John Lurie, Xero Slingsby, and of course Dutch mover and shaker Hans Dulfer were some of my favorites. Saxophonists with an attitude: supercharged, perky, and highly creative. An atonal, arty and conceptual kind of saxophone music that really spoke to me. Besides Charlie Parker, Johnny Hodges, Sonny Rollins, and John Coltrane, they greatly influenced my musical taste. ’Nostalgia Blitz’ is once again an attempt to push the boundaries of my own playing and simultaneously tip my hat to some of my all-time heroes."

Sdban Records is proud to present Doo's Blues, a collection of previously unreleased radio recordings capturing Serbian jazz trumpeter, composer and band leader Dusko Goykovich (1931-2023) at the moment he definitively established himself as one of Europe's most distinctive jazz artists.

Dusko Goykovich was born and raised in Jajce, Bosnia and Herzegovina, at the time part of the Kingdom of Yugoslavia. He studied at the Belgrade Music Academy from 1948 to 1953, playing trumpet in Dixieland bands and joining the big band of Radio Belgrade at the age of 18. After leaving Yugoslavia in 1956, Goykovich spent the next ten years developing his sound. Moving to Frankfurt he first established himself on the West German jazz scene, where he played with the renowned big bands of Kurt Edelhagen and Kenny Clarke & Francy Boland. Then, after appearances at the world's largest jazz festivals such as Comblain-la-Tour in Belgium, Antibes in France and Newport, Goykovich moved stateside where he spent four years studying at the world famous Berklee College and worked with the likes of Woody Herman and Maynard Ferguson.

Returning to Europe in the mid-sixties Goykovich soon introduced the world to his innovative Balkan jazz sound with Swinging Macedonia (1966), an album characterised by the melancholic melodies and sophisticated rhythms reminiscent of his native land. Today Swinging Macedonia still stands as one of the most important and sought-after works of European folk inspired jazz and demonstrates how Goykovich was not merely an excellent instrumentalist, but also a gifted composer and versatile artist in his own right.

Not long after Swinging Macedonia's release Goykovich was invited to record two sessions for BRT (Belgian Radio & TV), which he performed with three different ensembles. For the first session, recorded in late January of 1967, Goykovich was accompanied by Belgian vibraphonist Fats Sadi's quartet. Later that same day Goykovich was also joined by the BRT Jazzorkest, Belgium national radio's in-house jazz orchestra then playing under the direction of alto saxophonist Etienne Verschueren. Less than two months later Goykovich found himself once again ensconced in BRT's Brussels studios, this time heading up an international quintet that also included Bent Jædig (tenor saxophone and flute), Scott Bradford (piano), Jimmy Woode (bass) and Al Jones (drums).

Whilst the metaphor 'jazz with an accent' has been widely used to describe the music that European jazz artists created in the 1950s and 1960s, it fails to do justice to the entirely new language that Dusko Goykovich was developing. No mere dialect Goykovich's jazz was a delicate, multi-layered language, one that owed just as much to the folk music of the Balkans as it did to the modern music of America. And to the blues. For this is Doo's Blues.

Sdban Records is an independent, groove-obsessed record label based in Ghent, Belgium. The label started off as a 60's and 70's compilation and reissue label. The very first release, the acclaimed 'Funky Chicken: Belgian Grooves from the 70's', was a milestone right away. Recent releases include reissues and retrospective compilations from artists like André Brasseur, René Costy, and Jack Sels, as well as the compilations 'The Belgian Soundtrack' and 'Hip Holland Hip', which respectively cover the musical connection of Belgium with cinema and modern jazz in the Netherlands between 1950 and 1970. Doo's Blues was compiled by Lander Lenaerts, a DJ and writer who plays an important part in documenting the rich jazz history Belgium has to offer.

2023 Repress on Black Vinyl.

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

In 1969, Sahib Shihab and five leading members of the Clarke-Boland Big Band, including Francy Boland, Jimmy Woode, Kenny Clarke, and Fats Sadi, recorded this album for West Germany's Vogue label. The album features the exquisite Latin jazz track "Seeds," the waltz number "Peter's Waltz" dedicated to his son, and the modal piece "Mauve." Each track is highly stylish and sophisticated, showcasing a pinnacle of European jazz that could only be achieved by this exceptional lineup.

Vinyl with a couple of light scuffs. Cover with light wear

Still in shrink, but opened, with hype sticker

Formed by Kenny Clarke and Francy Boland, the Clarke-Boland Sextett, with the participation of numerous musicians from both Europe and the United States, made significant contributions to the development of jazz in Europe. At the core of this ensemble, the powerhouse sextet consisting of Kenny Clarke, Francy Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi came together to record the album "Music For The Small Hours" in 1967, and it is now set to be reissued with an obi.

This album spans a wide range of styles, from standards like Burt Bacharach's "Wives & Lovers" to Brazilian and Afro-Cuban influences such as Luiz Bonfá's "Ebony Samba" and Dizzy Gillespie's "Tin Tin Deo." Additionally, it features original compositions like Shihab's "Please, Don't Leave," where he takes on vocal duties. The entire recording exudes a sophisticated and relaxed mood, showcasing the utmost skill of this formidable sextet. "Music For The Small Hours" is a masterpiece that deserves a place in the history of European jazz, boasting the ultimate level of refinement.

OBI is missing! Cover has a few small torns!

) Tenor saxophonist Clifford Jordan blew in from Chicago in 1957 and put the NYC jazz scene on notice with a trio of excellent Blue Note sessions including Blowing in from Chicago co-led with John Gilmore, the self-title Cliff Jordan, and Cliff Craft. This third album featured Jordan at the helm of first-rate hard bop quintet with Art Farmer on trumpet, Sonny Clark on piano, George Tucker on bass, and Louis Hayes on drums. Side 1 presented three Jordan originals including the sublime “Laconia,” “Soul-Lo Blues,” and the hard-swinging title track. Side 2 found Jordan playing well-known tunes by Charlie Parker, Dizzy Gillespie, and Duke Ellington including “Confirmation,” “Anthropology,” and a show-stopping version of the ballad “Sophisticated Lady.” This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. Single Sleeve.

"A legendary concert by one of the great unrecorded bands in free jazz history is here at last. Webo, the third installment in the Black Editions Archive series of previously unreleased recordings from Milford Graves' private tape library, roars into the station June 21, 2024. For the first time, Charles Gayle, Milford Graves, & William Parker—three lions of the Black American jazz avantgarde—are finally heard together on record, presented here across three audiophile-quality LPs for two brutalizingly joyous hours of real ju-ju & musical mastery. The trio of Charles Gayle, Milford Graves, & William Parker gave only seven public performances between 1985 and 2013, and released no recordings. Their June 1991 two-night stand at the short-lived Lower East Side venue Webo, long referenced as a signal event in New York free jazz's 1990s resurgence, has been a topic of discussion among close followers of the music for decades. In the uncompromising grassroots spirit of the 1970s New York Musicians Organization and loft jazz movements from which they had emerged, the band produced and promoted the Webo concerts themselves. Photography and audio recording were not allowed at the concerts, and this official recording, commissioned by the artists, was never released—until now. So vivid was the lore surrounding Webo that it topped the list of recordings sought by Black Editions Archive from Graves' private collection. The tapes maximally substantiate eyewitness accounts describing extra-sensory levels of communication within the band, and the extraordinary clarity and impact of their performance. From William Parker's liner notes: 'Imagine a village or choir of drummers, horn players and strings. You can hear the bass and drums churning with a call and response, a melodic-rhythmic propulsion. In reality there is only one drummer, one bass, and one saxophone.' Age 52 at the time of these concerts, Charles Gayle had only recently made his first recordings. To all but the most immediate insiders he was still more myth than reality. Milford Graves, two months out from his 50th birthday, was about halfway into his body of recorded work and had sanctioned just one appearance on a commercially released recording in the last 14 years (Pieces of Time by an all-drummer quartet with Kenny Clarke, Andrew Cyrille, and Famoudou Don Moye). William Parker, the young man of the group at age 39, was a mere fifty entries into his discography, now 500+ entries and counting. All three musicians were at least a quarter century into passionately developing a personal and collective music rooted in the cultural values and radical aesthetics of the 1960s and '70s Black American avant-garde. 30+ years after the Webo concerts, Black Editions Archive is honored to make these historical recordings available to the public. The three LPs are presented in a heavy black, pigment-stamped box with mounted cover painting along with liner notes by William Parker, commentary from Alan Licht (witness to night one of the Webo concerts), a reproduction of the original concert flyer, and a set of 6"x9" printed photos from the 2021 Webo reunion outside MoMA PS1, Queens, NY. Cover Painting by Jeff Schlanger/musicWitness, made June 8, 1991, at Webo during the band's performance. Vinyl pressed at RTI, lacquers cut by Kevin Gray at Cohearent Audio."—Michael Ehlers, 2024