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Makila White & Black Splatter Vinyl Edition

Release: 2022 / UK – Original

Genre: Organic Grooves

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A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.
Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.
'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)
'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's
Time')
'Rapid-fire guitar work with variety and energy' – The Guardian, UK
'A great guitarist' – Tony Allen
'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')
'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands
like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)
Jazzwise Review
The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.
Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

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Chrisman

LP | 2022 | UG | Original (Hakuna Kulala)

Pepper Adams With The Tommy Ba

Release: 2022 / UG – Original

Genre: Organic Grooves

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While Chrisman's "Ku Mwezi" ep mostly explored gqom and trap influenced Afrohouse mutations, his debut album heads in a different direction. On "Makila", Chrisman provides an experimental vision of the taraxina sound: a molasses-slow fusion of the Angolan kuduro and kizobma dance templates that dips in-and-out of fuzzy drones and syrupy gqom.On 'Angels of Kivu', he pushes the clicking skeletal rhythm into the background, allowing electrified likembé melodies to take pride of place. It sounds like Congolese legends Konono No.1 shocked into a psychedelic electronic future by way of Durban.'Fatiliya' pushes more solidly into taraxina territory, with familiar saw synths accenting low 'n slow kicks and air blast leads. The backbone is Angolan, but Chrisman approaches his music with a full awareness of Atlanta trap and gqom, never ignoring the gut-rattling pressure of sub bass. That's never more evident than on the title track, where he constructs a haunted atmosphere of bells and drones to sit beneath staccato percussive hits and and winding drill slaps."Makila" is challenging music that takes divergent African forms and melts them together with next level skill and sleight of hand. It's another bold step for East African electronic music that underscores the wild creativity and talent emerging from the Democratic Republic of Congo.

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Live At Room At The Top Record Store Day 2022 Edition

2LP | 2022 | US | Original (Reel To Real)

82,79 €* 91,99 € -10%

Mark De Clive-Lowe & Friends

Release: 2022 / US – Original

Genre: Organic Grooves

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Record Store Day 2022 Drop 1 Release.

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Freedom (Celebrating The Music Of Pharaoh Sanders)

2LP | 2022 | EU | Original (Soul Bank Music)

Black Man Too Tough To Die

Release: 2022 / EU – Original

Genre: Organic Grooves

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Electronic jazz pioneer, pianist, producer, re-mixer Mark de Clive-Lowe has anenvious reputation as a cross genre creative artist who blends acoustic,electronic and world music exploring themes of belonging and identity. Equalparts jazz, house, hip hop and broken beat artist, Jazziz summed him upperfectly - "way before jazz hybridity became a worldwide phenomenon, deClive-Lowe was busy designing its blueprint.” Freedom is a live concert recording made at the Blue Whale, Los Angeles -where Mark put together a Los Angeles based collective made up by veryaccomplished and suitably talented Teodross Avery – saxophone, CorbinJones - bass, souzaphone drummer Tommaso Cappellato Carlos Nino –percussion and the highly renowned spiritual jazz vocalist Dwight Trible. Reinterpreting a set of Pharoah Sanders highly respected music is not for thecreatively timid, and Mark himself sets out the approach and philosophy thiscollective took when approaching this project: “This album is a celebration ofthe music, joy and spirit that the great master-teacher Pharoah Sandersbrings to the world through his lifelong creative journey. We gathered at LosAngeles’ Blue Whale jazz club to perform some of our favorite Pharoahcompositions from a place of love, respect and gratitude for all the inspirationhe’s brought to each of us. No one can play this music how Pharoah plays it -his expression is unique and imprinted on every one of his compositions inthe deepest of ways. We can’t possibly improve on his mastery and share thismusic simply as a heartfelt thank you to Pharoah - we celebrate you, and areso grateful for all the timeless - and timely - music you have gifted to theworld”.

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Cleo Page

LP+7" | 2022 | EU | Original (En Avant La Zizique!)

41,99 €*

Boy Child Felix Dickinson Mix

Release: 2022 / EU – Original

Genre: Organic Grooves

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Ealz! Records & brand new label A.D.S team up to pay tribute to the mysterious bluesman and producer : Cleo Page. Born in Louisiana, this L.A.-based musician worked with the great Johnny Otis, hang out on Central Avenue’s clubs and possibly jammed with top West Coast bluesmen like Jessie Allen, Pete “guitar” Lewis, Jimmy Nolen, Lafayette Thomas. Curley Page for some, Sly Williams for others, difficult to follow his career and in definitive, little is known about him despite his “big deal” recently approved by blues specialists : Cleo Page IS the man who wrote and recorded the original Boot Hill, a blues classic covered many times up until now. Cleo Page who lived in California since 14 years-old has been crossing Blues, Rhythm & Blues and protoRock'n'Roll in a personal way. He will run his own labels in the heart of Watts just after the 1965 riots. Those tragic events deeply influenced his laid-back groovy sounds, powerful guitar playing, organ-driven garage Blues with strong political and social messages. Somewhere between the first electric recordings of Howlin' Wolf and… Black Diamond Heavies! You're about to discover 12 rare tracks probably recorded between late ‘60s and early ‘70s. This brand new release includes the ultra-rare track "Black Man part. 1 & 2". Material reissued here for the first time in an arty/artisanal trifold Vinyl LP and a bonus Vinyl 7inch

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The Prolifics

12" | 1984 | UK | Reissue (Emotional Rescue)

16,99 €*

Release: 1984 / UK – Reissue

Genre: Organic Grooves

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The Emotional Rescue reissue series of Noel Williams aka King Sporty working with other artists and singers on the Konduko label's roster comes to completion with the deep funk disco of The Prolifics' Boy Child.

Formed in 1970 as part of "Senator" Nolan Jones' New Orleans soul and funk label Hep' Me Records, the bands early deep southern soul saw them release a series of 7"s for Hep' Me and Avco, plus an Xmas single for EMI and the minor hit A Place Called Home, recorded at the infamous Musle Shoals studios, backed by the Rhythm Section band who, from the early 60s, turned out hit after hit, from When A Man Loves A Women to Brown Sugar.

Landing on the newly inked Drive label, set up in '72 by Henry Stone as a sub label of his burgeoning T.K Records empire, their developing move in to funk saw them featured alongside Funky Nassau, Jimmy Castor and Peter Brown. It is here the connection with Noel Williams was formed. While putting together the "Konduko Six Pack" showcase album, the band were invited to the Miami Sound Studios for sessions that brought us both title cut Boy Child and the accompanying You Got Me.

All brass and claps, Boy Child is as funky as Williams got, backing the groups soul vocals, a story of first born's energetic path in life and a mothers love. The backing from Deep Rockers band bring the swing, the trippy keys and wide bottom end has made this a secret drop for many. You Got Me on the other hand is true King Sporty, a driving 9-minute disco boogie cut, where the warm harmonies lay down this uplifting, killer dance floor stop.

To close, the flip is again given over for reinterpretation, welcoming back Felix Dickinson to expertly cut, loop and dub. A special personal song for Dickinson, his subtle extension teases the intro for DJ play, before letting things fly - "the little show-off" as the song notes. With a near 30-year DJ and production career in place, his Discomix is a fitting way to complete this cycle of reissues of this benchmark label, for now.

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The Sun Shines At Night - Giorgio Moroder In Finnish 1972-1989

2LP | 2022 | EU | Original (Svart)

LP | 1976 | JP | Reissue (P-Vine)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Black vinyl, insert

Giorgio Moroder in Finland

The pioneer of electric pop music, Giorgio Moroder (born April 26, 1940 in Ortisei, Italy) is an internationally acclaimed songwriter and producer who left his trace also in Finnish popular music. Several Moroder’s compositions and productions were released in Finland with Finnish lyrics in the 1970s and 1980s, when Moroder had his most creative peak. This compilation includes twelve Finnish Moroder-covers from early bubblegum pop to electronic disco.

Giorgio Moroder began his musical career as a singer. He gained success performing bubblegum pop in the late 1960s. He wrote some of his hits himself, but he also sang songs written by others. During his singer years he succeeded with songs Looky Looky (1969) and Son of My Father (1971). The latter became well known also in Finland, where it was covered by one of the most famous Finnish singers in 1960s and early 1970s, Ilkka Lipsanen alias Danny. The song found its way to Finland via Britain, where British band Chicory Tip had covered it first and made it to the charts with the song.

Danny was not the only Finnish singer in the early 1970s who looked at Moroder’s repertoire when searching for good songs. Koivistolaiset was a singing and dancing duo of sisters Anja and Anneli Koivisto who were well-known celebrities in 1970s Finland. They released Moroder’s composition Good Grief Christina as On siitä aikaa in 1973. This song was also discovered from Chicory Tip’s repertoire.

Cheerful and danceable bubblegum pop was an early 1970s phenomenon and in Finland it was the most popular music played in discos during those years. In the mid-1970s the style called disco music was born and the popularity of bubblegum pop faded. Also Moroder quit writing bubblegum pop and got interested in disco and electronic music. Synthesizer and drum machine technology developed and created new possibilities for producing electronic disco that can now be seen as proto-techno.

Virve Rosti was one of Finland’s most popular disco and pop singers in the late 1970s with her strong soulful voice. Rosti’s fourth solo album in 1979, Oon voimissain, was packed with her versions of late 1970s disco hits like Ring My Bell, I Will Survive and Knock On Wood. The album included also two Moroder’s compositions originally released by American disco group The Three Degrees, Antaudun (Giving Up, Giving In) and Ohari (The Runner). Both are excellent cover versions compared to the originals, even though the long instrumental section in the middle of The Runner is cut to a shorter one in the Finnish version. Rosti’s singing performance is also high quality.

Among Rosti one of Finland’s most popular female disco singers was Mona Carita, whose second album in 1980 was called Soita mulle and named after her cover version of Moroder’s composition Call Me, originally released by Blondie in the same year. Mona Carita’s version with lyrics by Raul Reiman is still among the best known Finnish disco and pop covers of the era.

Moroder’s most creative era ended in the early 1990s, though he has returned to music business within the last ten years. Finnish record producers also began looking in other directions when searching for songs. During the 1980s it became less and less popular to make Finnish cover versions of international hits. There were several reasons for this, from the improving quality of Finnish compositions to improvement of Finnish people’s understanding of other languages. When the audience began to understand the English lyrics of international songs, there was no need to make Finnish versions of them anymore. However, Moroder’s work is still recognized and played frequently today, and the same goes with the best Finnish cover versions of his compositions.

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Timeless Legend

Synchronized

Slingshot Canary Yellow Vinyl Edition

Release: 1976 / JP – Reissue

Genre: Organic Grooves

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Not many groups can call themselves “Timeless Legend” and not be accused of arrogance. With countless features on magazines and DJ playlists, this Ohio four-piece vocal unit actually manages to pull it off. With ballads as sweet as Carolina ice tea and groovy dance numbers, their sole full-length release, “Synchronized” is perfect for any time, place, or situation. Reissued with its original track order for the first time ever, experience this iconic album the way it was originally intended!

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Jaywood

LP | 2022 | US | Original (Captured Tracks)

2LP | 2003 | EU | Reissue (In & Out)

Release: 2022 / US – Original

Genre: Organic Grooves, Pop

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Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

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Larry Coryell

Tricycles

37,99 €*

After The Rain / Blue Moon / Cloudburst 1 & 2 Black Vinyl Edition

Release: 2003 / EU – Reissue

Genre: Organic Grooves

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180gr, gatefold cover including 3 Bonustracks (remastered)

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Frank Strazzeri

2x7" | 2022 | UK | Original (Dynamite Cuts)

Speak Love / Young Hearts

Release: 2022 / UK – Original

Genre: Organic Grooves

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” First up is “After the rain”, a stunning & superb mellow groove led by the master flautist Sam Most. On this track Frank and Sam share the vibe in every way, the super sexy Flute & Rhodes grooves, solos give this track the 10/10. This track is so infectious in its wonderfulness, it puts it in my top ten jazz chillers All-time. Essential. Blue Moon” a superb Jazz bass sample intro, Sam Most on the Saxophone with Bobby Shew backing up on the Flugelhorn, this is a Jazz delight!! Moving from Latin grooves to 4/4 vibes which such ease. Frank’s Rhodes solo creeps up on you at the end, love it. Sunday Jazz gem.“Cloudburst” PT1, is an organic track that opens with a wonderful Rhodes chord sequence that just gets me, every time ooooh! Introduce bass by Harvey Newmark to the laid-back groove intro, then Boooom!! Let’s shift it up a gear, Rhodes clav vibe and super funky drums set the pace, with funky horns to complement that groove, Smokin’ jazz funk!! Once the Flute comes in this track has taken me to the clouds and back. Part two kicks back right into the groove, a perfect club cut, with Frank on the Rhodes, Harvey on the Bass groove, this is one heavy groove.

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J.D.'S Time Machine

7" | 2022 | UK | Original (Izipho Soul)

16,99 €*

Release: 2022 / UK – Original

Genre: Organic Grooves

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Dance Of The Cosmo Aliens / Door Of The Cosmos Magenta Vinyl Edition

Sun Ra

7" | 2022 | UK | Original (Art Yard)

20,99 €*

LP | 2022 | UK | Original (Is It Jazz?)

Release: 2022 / UK – Original

Genre: Organic Grooves

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A couple of magnificent Sun Ra gems on this heavyweight 7". Pressed at 33rpm on neon magenta vinyl. TIP!

Both tracks are denoted as 'Disco Edit' by the label, and we smell and air of fun in that. If not then find us the Disco that plays this kind of fire and we are there! This ain't no added kick drum + high hat to make the stiff folk dance bullshit.

Side A is very respectful and dope chop up of Disco 3000's Dance OF THE Cosmo Aliens. Side B a more subtle edit of Sleeping Beauty's celestial Door OF THE CosmoS

.. did we say TIP!?

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Datadyr

Woolgathering

40,99 €*

Blakey In Paris Feat. Bud Powell And Lee Morgan Clear Vinyl Edtion

Release: 2022 / UK – Original

Genre: Organic Grooves

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Datadyr is a jazz trio from Bergen, Norway. Their music ranges from the heartfelt and gentle to the energetic and explosive, and it's rarely far between those extremes. During four years of studying jazz at the Grieg Academy, the inspiration that accumulated and the expression that remains today is characterized by traditional jazz, newer directions in jazz and improvised music. Many of the songs on the debut album have their origins from the beginning of their studies and have developed in parallel with the band. Songwriting and arranging have gradually taken a bigger part in rehearsals, while the band works hard to retain the spontaneous and playful expression that was the starting point for the trio. As the band says themselves: “It was a conscious choice to record everything in the same room, with as few overdubs as possible. We wanted to have good communication between us to make playing as easy as possible, and to capture the energy that comes from the joy of playing music. We wanted the instruments to bleed into each other to get an organic room sound”. The album was recorded in Solslottet Studio at Bergen Kjøtt, with Iver Sandøy as engineer and producer. With “Woolgathering”, Datadyr shows a different and exciting direction of Norwegian jazz.

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Art Blakey

LP | 1961 | EU | Reissue (Sowing)

The Man In The Jaguar Mask

Release: 1961 / EU – Reissue

Genre: Organic Grooves

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Limited Clear Vinyl edition, 300 copies! This is Art Blakey and his Jazz Messengers, with guests Bud Powell - piano and Barney Wilen - alto sax, caught live at the Théâtre des Champs-Élysées in Paris in1959. At that time Blakey's Messengers were no less than Lee Morgan – trumpet, Wayne Shorter – tenor sax, Walter Davis Jr. – piano and Jymmy Meritt – bass. In other words one of the greatest Hard Bop combos ever, a pool of great young individuals under the direction of one of the most influential drummers and band leaders in the history of Jazz. No need to add that "Paris Jam Session" is regarded as an essential release in Blakey's extensive discography.

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Jaguar Skills

LP | 2022 | UK | Original (Nope23)

19,99 €*

A.B. Crentsil's Ahenfo Band

Release: 2022 / UK – Original

Genre: Organic Grooves

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Time to hit the accelerator! Released in association with the classic label KPM, Jaguar Skills has produced his own film soundtrack, 'The Man In The Jaguar Mask', released on his label Nope23. Using the same equipment and recording methods of the classic ‘70s film soundtracks, Jaguar Skills & his orchestra, have channelled the sounds of the great action film composers into this project. With intricate detail, Jaguar Skills made sure, every step of the way, that this project was going to be as authentic as possible, so he invited some of the very best session musicians in the world to work on the record. The all-star players on the album include; Simon Katz (Gorillaz, Jamiroquai) on guitar, Drew Horley (Stevie Wonder Band) on keys, Zoltan Renaldi (Funkadelik) on bass, Bill Ware (Steely Dan) on vibes, conductor Jonas Peterson (Marvel Soundtracks) on strings, Patrick Gorce (Tony Allen Band) and Andy Findon (Lala Schifrin Band). Each track instantly takes the listener through a different scene in the movie, 'The Man In The Jaguar Mask' is a love letter to the b-movies and kung-fu flicks Jag Skills grew up on.

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Obi Baa Wiase

10" | 1992 | EU | Reissue (Hot Mule / Secousse)

19,99 €*

Takayanagi Masayuki New Direction For The Art

Release: 1992 / EU – Reissue

Genre: Organic Grooves

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A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career. Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics. According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”. The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day. Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor." Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured. Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists, weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades. As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music".

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La Grima

LP | 2022 | EU | Original (Aguirre)

The Otherside / Make Me Belive

Release: 2022 / EU – Original

Genre: Organic Grooves

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On vinyl for th efirst time. Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

In 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the New Century Music Research Institute. Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity.

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Bobby Oroza

7" | 2022 | US | Original (Big Crwon)

Release: 2022 / US – Original

Genre: Organic Grooves

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While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness. The vulnerability makes it romantic while the heavy backing track brings it that unique energy that classic B sides have where they are heart- breaking and gorgeous at the same time.

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Fusion Global Sounds 1970-1983

LP | 2022 | EU | Original (Favorite)

The Hill District / Richie Merrett

Release: 2022 / EU – Original

Genre: Organic Grooves

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Favorite Recordings and Charles Maurice proudly present a brand new compilation series: Fusion Global Sounds.

9 rare and hidden tracks produced between 1970 and 1983 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series. This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life. "Buster" is taken from the first and only album of the Swedish band, Sundance. The band from Gothenburg was formed around US trumpet player Stephen Frankevich (notably playing with Mahavishnu Orchestra) after he moved to Sweden. Cosmic, with razor-sharp rhythms, it naturally brings you to the second title, "Hello Mr. Ancuvis" by Renato Anselmi. One of the key players of the Swiss Jazz scene during the sixties and the seventies, Renato also had the chance to play with Harvey Mason or Alphonso Johnson. Funky, jazzy but still a bit breezy, here again sweet vocals nicely blend with uptempo Rhodes part. Also included is another title from Renato Anselmi, "Quiet Fire", a mellow Rhodes-driven ballad with funky accents, wide strings and guitar arrangements. "Tropical Island" by Zane Cronje, a South-African composer and arranger, was initially a track from a music library catalogue: dreamy, soaked in thorough synthesizers, we're only attached to the earth by the Guiro groove. You'll also hear this cosmic vibe in "Astral Dance" by French-American drummer and Jazz musician/composer Daniel Bechet, taken from Songs To My Father LP, dedicated to his father the famous Sax/Clarinet player Sydney Bechet. In this 4 minutes dope jam, keys, guitar and percussion will elevate your mind to another level of consciousness: deep! The 1860 Band was hailing from Wellington, New Zealand, playing mostly in bars, cafes and pubs - their name is taken from a tavern where they had an extended afternoon residency keeping the clients entertained. Their sole LP, now rare and sought-after, was a nice mix of Jazz-Funk and Disco grooves. Their amazing and groovy cover of "Keep That Same Old Feeling" by The Crusaders, brings the best of their playing. Otroshakers was formed around Hugo and Osvaldo Fattoruso, as a tribute project to their former band Los Shakers, some sort of copycat band of The Beatles with great success in Latin America. Listening to "Siempre Tu", you can almost hear The Beatles' psychedelic vocal of Sgt. Pepper's Lonely Hearts Club Band. Later joining Ringo Thielmann in the US, they formed the band OPA together, after having recorded for Airto's seminal album Fingers. Blending Jazz, South-American musical elements and Funk, their fusion quickly gained the respect of the NY musical scene. "Despertar" by Spanish drummer, singer and actor Pedro Ruy-Blas, is taken from Luna Llena, his great first Jazz-Funk album. The track is a funky piece with wah-wah expressive Rhodes, ending with a beautiful flute solo. "Prologue" by Dutch-French pianist Majoie Hajary (sometimes called the "Hindu pianist"), can be found on La Passion Selon Judas, a very unique religious album blending her own style with Psych, Funk and Jazz elements. Surely we could continue detailing stories of all these gems, but we guess that the best way to learn more about them, is to listen to Fusion Global Sounds, fully remastered from originals and whether your preference is for vinyl or CD formats.

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You're Scared Of Falling In Love / You'll Always Have Yesterday Standing By

7" | 2022 | UK | Original (Soul Junction)

19,99 €*

Soft Ffog Orange Vinyl Edition

Release: 2022 / UK – Original

Genre: Organic Grooves

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The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

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Soft Ffog

LP | 2022 | UK | Original (Is It Jazz?)

Release: 2022 / UK – Original

Genre: Organic Grooves

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Soft Ffog Black Vinyl Edition

Soft Ffog

LP | 2022 | UK | Original (Is It Jazz?)

Release: 2022 / UK – Original

Genre: Organic Grooves

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LP | 2022 | EU | Original (ZZK)

ZZK Sound Volume 4

Art Blakey's Jazz Messengers With Thelonious Monk

Release: 2022 / EU – Original

Genre: Organic Grooves

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Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars-Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them-but ZZK's search for new artists, sounds and perspectives is never complete.ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim-the label's original A&R (and Chancha Vía Circuito's older brother), he'd actually taken a five-year hiatus from the project prior to 2020-the compilation's origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he'd received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull-another ZZK co-founder, who runs the label's day-to-day operations-couldn't believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production.At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere long before the genre became the "next big thing," is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America's electronic avant garde and a thrilling preview of its next wave.

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Art Blakey

2LP | 1958 | EU | Reissue (Rhino)

38,99 €*

Release: 1958 / EU – Reissue

Genre: Organic Grooves

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LP | 2022 | US | Original (Now-Again)

Denny Zeitlin

The Name Of This Terrain

56,99 €*

LP | 1976 | US | Original (Atlantic)

Release: 2022 / US – Original

Genre: Organic Grooves

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At Now-Again, we avoid hyperbole, yet we believe that this album is one of record collecting’s ultimate finds: the missing entry in jazz pianist/composer/psychiatrist Denny Zeitlin’s discography, a wonderful and weird fusion of avant-classical, jazz, funk, rock and electronic music. The Name Of This Terrain was recorded and pressed in a scant, custom run as a demo in 1969 –and it so defied its own existence that, even after its producer died and his copies were discovered, Zeitlin steadfastly resisted its release for almost 20 years, destroying his remaining demos so not to posthumously suffer the same ignominy. Following his reappraisal, this album is issued with its creator’s blessing and guidance. You will surely never hear an album like this again, by the musician the venerable jazz critic Leonard Feather called, “the most versatile young pianist to come to prominence in the early sixties,” and who took a left turn at the end of the decade, documenting a pivotal 20th century moment with passion, intellect, and humor in turn. The Name Of This Terrain found its way out of the depths – wonderful and having aged well, like well-corked, deep wine stored in a cold cellar. Ready for another moment to shine and be understood, redolent of the tastes and textures of a different time, one we pine for and that we won’t often see again, but can happily, momentarily, indulge. Now-Again’s Eothen Alapatt and Zeitlin-chonicler Andrew Gilbert collaborate here to tell the story of this amazing album. Never-before seen photos and ephemera appear in the oversized book. Download card for WAV files for all vinyl tracks, as well as bonus tracks, included.

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Aretha Franklin

Sparkle

8,99 €*

LP | 2022 | JP | Original (P-Vine)

Release: 1976 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: Generic

Presswell Pressing.
Record has some hairlines and a few superficial scratches.
Ships in a brand new plain sleeve.

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Khari Cabral & Jiva

Five

Baligh Hamdi & Magid Khan

Release: 2022 / JP – Original

Genre: Organic Grooves

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Five is the latest album from Khari Cabral & Jiva - a mouth-watering rare groove and acid jazz treat from the veteran bassist based out of Atlanta. The album features lead single ‘Show Me The Way’ released earlier in the year by UK label Splash Blue, and also two covers of the legendary James Mason from his jazz-funk classic Rhythm of Life.

Khari Cabral is a member of soul group Jiva, and outside his solo pursuits he’s also the touring bassist for four time grammy award-winning India Arie. P-vine is delighted to present Five as a limited edition LP with an iconic Japanese obi strip attached.

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Indo-Arabic Variations

LP | 2022 | EU | Original (Altercat)

LP | 1978 | US | Original (Atlantic)

Release: 2022 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Unique fusion of the Indian and Egyptian music cultures devised by Baligh Hamdi, the most prominent of all modern composers in the Arab-speaking world. Hamdi, who penned dozens of hit compositions for Umm Kulthum, Abdel Halim Hafez, Warda and Sabah amongst others, also shaped the future of Arabic music in a way that's difficult to overestimate. Directed by Hamdi, the renowned Indian sitar player Magid Khan joins the Egyptian musicians of Abdel Halim Hafez's orchestra in re-reading some of Hamdi's compositions from a new perspective – here sitar and tabla dance together with arghoul, ney and other Arabic instruments. An east-meets-east masterpiece in which Hamdi once again pushed the boundaries of Arabic music in his tireless quest for a broader, more global reach.

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Aretha Franklin

Almighty Fire

9,99 €*

LP | 1982 | UK | Reissue (Shadow World Archive)

Release: 1978 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: G+

Cover has storage wear, a punch hole, sticker residue, writings and a big promo sticker on the front.

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Lining Time

Strike

19,19 €* 31,99 € -40%

Adrian Quesada Of Black Pumas

Release: 1982 / UK – Reissue

Genre: Organic Grooves, Rock & Indie

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Here I AM is the first thing. A powerful incantation sung in full choral style at Dartington College of Arts in 1982 and captured on tape, now in 1s and 0s for all eternity. It’s a bold phrase, this assertion of existence, this permanent claiming of space in time; these three words we were made to sing in church, that we used to recite one after another at the beginning of class. Doing so might seem mundane, or easy, but it’s not. What’s easy is not. Not declaring one’s presence, not showing up at all. Claire Bushe, Cathy Frost, Lisa Halse, Cathy Josefowitz, and Mara de Wit showed up, took a side. They called themselves Lining Time. They were here. ANY Woman CAN SAY I’M A Witch, they said. Strike is the album Lining Time made. It plays out like a freedom spell, like liberatory healing magic. Reveling in the power of the voice, Lining Time sing. Not at us, but for us. As if by putting voice to the traumas inflicted by the patriarchy and capital, they could be made right. As if the whole world might join in and sing along, might join in and take action - might join in and strike.There’s nothing exclusive about the music Lining Time made. Like many of the best and weirdest records of the post-punk era, Strike wears its amateurism as a badge of honour, flies it like a flag to rally around. It is inclusive to the extreme. Which isn’t to say anyone could’ve made Strike. That’s the thing. The music preserved here is too weirdly spare and idiosyncratic - and wildly overconfident in the way that only the young and young at heart can be. Sometimes it’s almost protest folk, acappella or accompanied by a single acoustic guitar, as on ‘It’s Possible’. Sometimes schoolroom auxiliary percussion clunks out a cyclical, ritual rhythm, as on the title track. At no point does it feel less than singular. Still, this is music about and for universal sisterhood. It invites solidarity. Take up an instrument for the cause and sing your own song. Time Passes Time Passes Time Passes Time Recorded music often functions like a time capsule. It’s not rare that an album is “lost”. Rather, it’s rare that a work is heard widely at the time it was made. Often, it’s barely heard at all. It just exists somewhere, a cave painting or an ancient piece of graffiti, waiting to be stumbled upon for whatever reason. The reason, in Strike’s case, is a wonderful posthumous exhibition of Cathy Josefowitz’s artwork, The Thinking Body, a cooperative effort between Kunsthaus Langenthal, Centre Culturel Suisse, Paris, Macro Roma, Les Amis de Cathy Josefowitz, and Elise Lammer. It’s possible that some might be tempted to think of Lining Time as a sideshow curiosity to the main event, but that’d be foolish. Strike, nearly forty years old, is as alive and relevant as it was when it was recorded in the wake of the Reclaim the Night march. If anything, it’s shocking how potent and necessary its message remains today.

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Boleros Psicodélicos Colored Vinyl Edition

LP | 2022 | UK | Original (ATO)

Release: 2022 / UK – Original

Genre: Organic Grooves

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LP | 1986 | EU | Reissue (Funkscapes)

Citro

Smile

The Best Of Earth Wind & Fire Vol. II

Release: 1986 / EU – Reissue

Genre: Organic Grooves

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Full cover artwork based on the original and includes an insert with liner notes and images. Limited to 300 copies.

Official reissue of Citro’s EO Smile, from 1986. An unsung German funk band from Saarbrücken that existed for almost 4 years and played shows in Germany, France and Italy. They got a male and a female lead vocalist and therefore reached an extra variety in their songs.

It starts off with a boogie. The positivity of Smile should be remembered on every blue monday or whenever you got the blues. Just put on your smiling face. Smile is reworked by Dea (who released his own EP on Gudu records recently and is one half of Zatua that got a LP out on Second Circle). He gently extended the original and added some nice keyboard and drum machine sounds without losing the original vibe.

If the a-side already got you grooving, the b-side will make you dance. Way Down To You is a melancholic dancefloor bomb about a love at the crossroads. The future of it depends if some rumours about the man’s faithfulness are right or wrong. Open end. We Got Fantasy – a statement of a song, with great keyboards and additional percussion. We Got Fantasy is edited by BM, the label boss himself, starting directly from the keyboard solo and extending it to an almost neverending and tense- ful intrumental. From a DJ perspective, simple and effective.

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Earth, Wind & Fire

LP | 1988 | US | Original (Columbia)

28,99 €*

12" | 2022 | EU | Original (Mawimbi)

Release: 1988 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Still in shrink but opened with hype sticker. Original US Carrollton Pressing.

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Jally Kebba Susso

Freedom

Release: 2022 / EU – Original

Genre: Organic Grooves

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Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki. Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London", 2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown, Glastonbury). Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his long-standing roots in the London music scene, have sometimes been precarious. A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice) which are dear to Jally's heart as a Gambian native and West African musician settled in Europe. A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only what we become, no matter where we come from and who we inherit from. "Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow artists and musicians from the West African diaspora working in Europe. Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly" tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way of life". Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

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2LP | 1988 | UK | Original (Low Fat Vinyl)

Serious 1

6,99 €*

Release: 1988 / UK – Original

Genre: Hip Hop, Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

7" | 2022 | UK | Original (Epsilon)

Keni Lewis

Ba'e Brother

18,99 €*

CD | 2022 | US | Original (Now-Again)

Release: 2022 / UK – Original

Genre: Organic Grooves

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Mura were a previously little-known group from Japan, formed by friends Kota Inukai (vocals, guitar), Masaki Endo (bass) and Sho Shibata (drums) in the late noughties. Performing mostly in small events in Sapporo, they were outsiders, and felt a kinship with few other groups, though Inukai mentions rock group Green Apple Quick Step, and hardcore band Ababazure as fellow travellers. This isolation surely feeds into the uniqueness of Mura’s music – they sound little like much that we know of the taggable Japanese underground of their times, and the music they recorded for this, their debut album, spanning a decade, is gloriously all over the shop, from delirious punk wig-outs to strange pop miniatures. The group formed young – Inukai was only fourteen when they started, and Mura was his first ever band. When pressed on what they were listening to while making their music, Inukai recalls that he “used to listen to the works of Haruomi Hosono a lot”, and you can hear traces of this, perhaps, in the breadth of the sound Mura explores, from the lovely, country-esque shuffle of “In The Talk”, through the garage-y plunk of “Rest” and the reflective, melancholy “Younger Brother”. They were also big fans of video game music – “even orchestral covers of video games”, Inukai smiles – and that’s in there, too, in the split-second responsiveness of the playing, the way they flick through ideas and genres almost impatiently, taking minutes to cover terrain that other groups might spend albums and years exploring. But the songs were also grounded in Japan’s history, with many of the songs inspired by “old Hokkaidō,” Inukai recalls, “from the Meiji, Taishō, Shōwa periods.” With Inukai coming up with the melodies, and Shibata fleshing out arrangements, all three members then contributed lyrics. You can hear that collective effort in the way the music moves, every player listening carefully to each other, the songs moving gracefully, but not without verve and vim. It’s a delightful album, full of pop songs that take unexpected turns, with glinting melodies sung out, here sweetly, there with gruff candour, guitars tangling together like an unholy union of Tom Verlaine and Jad Fair, every song charged with a new, unpredictable spirit. Produced by Kota Inukai, Richard Horner, Ikuro Takahashi. With liner notes by Jon Dale.

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Eamon

No Matter The Season

LP | 2022 | US | Original (Fat Possum)

Release: 2022 / US – Original

Genre: Organic Grooves

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A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

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Ann Peebles

This Is Ann Peebles

32,99 €*

Release: 2022 / US – Original

Genre: Organic Grooves

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Western Reunion London 1965

The New Jazz Orchestra

LP | 1965 | EU | Reissue (Mad About)

28,99 €*

No Money No Honey Clear Vinyl Edtion

Release: 1965 / EU – Reissue

Genre: Organic Grooves

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British Jazz Masterpiece from 1965 featuring Neil Ardley, Ian Carr, Barbara Thompson and John Hiseman

180 gram black vinyl. Reissue for the first time Worldwide In the mid-60’s London scene, the NJO was one of those unavoidable and big-band groups (originally started as Clive Burrows Orchestra), where almost everyone who was anyone on the scene or almost transited through the group, which was normally the vehicle for composer Neil Ardley. You’ll find in the WR album, among others, stellar names like Ian Carr (of RCQ and Nucleus fame), Barb Thompson, Tony Reeves, John Hiseman (all three of future Colosseum fame), Trevor Watts (future Amalgam) plus a bunch more of lesser-known, but no-less gifted musicians like Paul Rutherford, etc. The line-up would fluctuate to include many other household names.

The New Jazz Orchestra was formed in December 1963, its name reflecting both the youth of its members - their average age was only 23 - and their mission to perform the new kind of orchestral jazz that was then developing in America but still to be heard in Britain. The personnel included such (then) non-jazz instruments as flute, horn and tuba in addition to the standard brass, saxes and rhythm line-up of the big band. This is the NJO's first album, recorded in March 1965 before an invited audience to make the young band feel at ease. The NJO was the offspring of a popular weekend jazz club, the "Jazzhouse" based at the Green Man, Blackheath (demolished to make way for Allison Close) where the "house" band was the Ian Bird Quintet (initially comprising Ian Bird, tenor sax; Clive Burrows, baritone sax; Johnny Mealing, piano; Tony Reeves, bass and Trevor Tomkins, drums - Mealing and Tomkins left to join the newly formed Rendell-Carr Quintet and were succeeded by Paul Raymond and Jon Hiseman respectively. The ensemble featured many London-based jazz musicians, such as Harry Beckett, Jack Bruce, Ian Carr, Dave Gelly, Michael Gibbs, Dick Heckstall-Smith, Jon Hiseman, Henry Lowther, Don Rendell, Frank Ricotti, Paul Rutherford, Barbara Thompson, Trevor Tomkins, Michael Phillipson, Les Carter, Tom Harris, Trevor Watts and Lionel Grigson. Ardley, Gibbs, Carter, Rutherford, Michael Garrick, and composer Mike Taylor all contributed pieces and arrangements.

Under exclusive license of Universal Music Portuga

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Atilla Engin Group

LP | 2021 | EU | Original (Arsivplak)

LP | 2022 | CA | Original (Telephone Explosion)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Here an unreleased Turkish Jazz album by Atilla Engin from 1986. I want a special thanks to Mr. Per Meistrup who saved this gem and let us to release it. Limited 500 numbered transparent copies. The album cover was already pressed but wasn't released, since yet...

Atilla Engin was a Turkish Jazz drummer. He moved to Denmark around middle of the 1970's and recorded many traditional Jazz albums there. This album was his last recording in Denmark but unreleased, until now...

"I dedicate this album to Denmark. Ten years ago I came to Denmark. Here I have found my personality, I was allowed to develop-practice my music and the most important thing is that I have learned so much from this vital society for better or worse. And since then, Denmark has been in my heart with growing love, which will probably never disappear. I am who I am; curious, happy, angry, angry, unwise, intelligent, bad diplomat with naughty body and yet I was allowed to play with You I love !!" Atilla Engin

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Fresh Pepper

33,99 €*

LP | 1974 | EU | Reissue (Be With)

Release: 2022 / CA – Original

Genre: Organic Grooves

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Beyond whatever mood is likely struggling to be sculpted by the house playlist, restaurants are full of their own natural music. Porcelain and cutlery clatter in bus bins like little medieval battlefields; the chatter of patrons smears into a single stormy texture; the kitchen staff hollers and chides as their own chosen music competes for the ear of anyone walking to the restroom; the churning and hissing of the dish steamer leads the assemblage of sounds that leak out from the back of house to and cling to a diner’s subconscious. The fact that restaurants employ so many hustling musicians, whose entire lives are centered around sonic sensitivity and awareness, is either grand irony or total synergy. Toronto outfit Fresh Pepper, led by longtime friends Andre Ethier and Joseph Shabason, playfully navigates the mental and emotional mark left on many musicians by such places. Their self-titled debut is less concerned with their service-industry traumas, doldrums, and setbacks than it is with creating a relatable space for album’s contributors to fully be themselves within the ease and freedom of having similar histories. Shabason, Ethier, and company recount their culinary past lives across eight jazzy and benevolent tracks that exude their authors’ sheer enjoyment of the creation process. Though the mental image of restaurant inner workings might trigger a mix of urgency, weariness, and yearning for a better livelihood, Fresh Pepper recolors these frazzled scenes with fondness and levity, exorcizing past workplace woes through skillful musicianship and an earnest, slightly bizarre sense of humor.

Fresh Pepper was played and assembled in-person during a gap between Covid waves, and the gleeful rarity of the occasion is palpable. Whatever brooding was stereotypical of artists and musicians pre-pandemic was not invited to this reunion. From the very beginning moments of Fresh Pepper, Shabason and Ethier guide their companions (a sort of super group of Toronto musicians from acts like Bernice, Beverly Glenn Copeland, and even Destroyer’s Dan Bejar himself) with breathy, hushed tones via saxophone and vocals respectively, casually traversing their own annexed corridor between smooth jazz, exploratory avant-indie, and subverted adult-contemporary. Mid-performance apologies are left unmuted in the mix, room-tones are evident in spacious moments, and the spirit of close collaboration is omnipresent. After a mini-parade of loose and glassy keys, the pensive funk highlight “Prep Cook in the Weeds” intros with the kind of furrowed-brow noir-smoothness of some yesteryear crime drama, buoyed by Ethier’s gently insightful musings. “Another fly lands on the clock,” he sings in a hushed tone through a half-smile, pointing wryly toward the relationship between wage-workers and timekeeping devices. “Flies on the hands of time,” he continues, resigning his sense of control, “the flies take the wheel.” Ethier’s slice-of-life lyricism and serene baritone delivery find a fitting counterpart in Dan Bejar who appears on “Seahorse Tranquilizer”. Where featured vocalists-- especially those as iconic as Bejar-- would threaten to out-charisma an album’s resident personalities, Ethier and Bejar heighten the charm of each other’s demeanor in a natural and relaxed way, leading to one of the gentlest moments of an already gentle affair.

Conversely, the track “Dishpit” is noticeably the most abstract chapter of the album, reminiscent of the factory-like, thankless, yet oddly contemplative corner of the kitchen after which it is named. The track begins with a toyish, motorik pulse that imparts the fraught motivation of a full sink during lunch rush with still more dishes on the way. Shabason’s saxophone spins in the mist and steam, disoriented but determined, rallying an equally bewildered percussionist behind it. On much of the album, Shabason’s playing assumes more practical form in contrast to the ambient impressionism of his solo output, but here his atonal fourth-world fingerprints are easily visible. Following all this, “Congee Around Me” again finds warmth in the chaos, imparting the same sense of peace within the jumble that characterizes Fresh Pepper. “Mushrooms in the frying pan,” opens Ethier, summarizing the album’s pathos, “throw another in, I’ll see you when I see you.” Album ender “The Worm” - fatigued and victorious, fluttery and decayed, sounds like a memory-rich bygone era that never really existed. Was that 1990-something? Did it really happen that way? Did the sunlight really look like it does through a camcorder, or has sunlight always been the same as it is now? Does it really matter if I couldn’t see it from the kitchen anyway?

It could be argued that the best art frames its subjects without any commentary, leaving as much room for the viewer to fill with their own experiences, shortcomings, and longings as possible. Fresh Pepper provides this kind of framing around a scenario so taken-for-granted that it becomes mythic under the slightest examination. In this sense, like so many projects that Shabason puts his sonic stamp on, Fresh Pepper conjures an unexpected slice of enlightenment from somewhat unnoticed circumstances. True to form, Fresh Pepper assures us not just that we are going to be okay, but that we are okay right here and now, overtired as we are amid the stainless steel, heat lamps, and spattering oil.

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Nucleus

Under The Sun

27,99 €*

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Lova Lova & Atelier Kamikazi

Mokili Na Poche

LP | 2022 | EU | Original (Seismographic)

LP | 1976 | EU | Reissue (Strut)

Release: 2022 / EU – Original

Genre: Hip Hop, Organic Grooves

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Kinshasa, Democratic Republic of Congo - a group of street children gathered around the artist Lova Lova to form the Atelier Kamikazi and record the album "Mokili na poche" in cooperation with Oyo Projects. They are "shégués", sons of soldiers, orphans or accused of being "child sorcerers". They talk in a funny and provocative tone about the difficulties encountered in their daily lives, about rivalry, politics, sexuality, and survival. These kids know they are fucked - and they fuck back. Comes with bilingual (English/French) printed info inner sleeve.

Seismographic Records is a label for global hybrid music, run by Martin Georgi (Quiet Elegance Records). «Seismo» deals with connections of local and international sounds, of cultures and epochs far apart. It wants to break through the boundaries of Western music history and focus on the unheard. On currents that have so far been excluded from algorithms and streaming services due to their lack of market relevance. This is about the localization of new trend-setting centers in the Global South. In this way «Seismo» wants to make visible the potential of a decolonized music development. Music takes on the function of a seismograph. It is a sensitive instrument to register social transformations.

The focus of the label is on the production of vinyls and their distribution on the global market. The pressing makes the projects materially tangible. The productions are preceded by a close collaboration with artists, researchers, designers, and journalists in order to explore the cultural and historical contexts of musical trends and to make them audiovisually accessible. Texts, graphics, and videos are used to illustrate the background and contextualize the music. Seismographic Records also collaborates with cultural institutions in order to provide a platform for the projects in the form of exhibitions, concerts, radio broadcasts and to anchor them in cultural discourse.

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Wayne Davis

7" | 1982 | EU | Reissue (Ice City)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Strut present the first ever reissue of an essential lost classic from the Black Fire catalogue, Wayne Davis’ powerful self-titled gospel-soul album from 1976.

An accomplished vocalist and keyboard player, Davis had studied in Washington D.C. and had worked with Roberta Flack and she subsequently secured him a recording deal with Atlantic Records; he released the A View From Another Place album in 1973 and Roberta contributed electric piano to one of the tracks. Davis was then dropped from the label and his subsequent album was released by Jimmy Gray on Black Fire. Produced by Jimmy Watkins and Bias Studios manager, Bob Dawson, the album line-up featured the celebrated poet and flautist Wanda Robinson and the horn section from legendary D.C. go-go pioneers Experience Unlimited. Wayne later returned the favour, appearing as a vocalist on Experience Unlimited’s seminal Free Yourself album.

This first international reissue of the album features new sleeve notes including band member interviews and original illustrated artwork by Muzi Branch. Audio was transferred from the original tapes by the album’s engineer, Bob Dawson, and was remastered by The Carvery.

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Fate

I'm In Love Again

Ahora Aqui, Todavia No Blackvinyl Edition

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Ice City makes its return and it's another excursion into the world of obscure one-shot bands. Revered by crate-diggers worldwide, it's a long overdue 7" reissue of the elusive band Fate and its one and only record from 1982.

The dreamy "I'm in Love Again" is a rhodes-led, bass heavy groover crescendoing with an eyes-closed guitar solo, drenched in pure, raw passion.

Not to be undone by the A-side, flip the 45 over for the psych-soul slow burner "Without You Girl" for an extra dose of heart-melting emotion.

Icy City kicking off the year strong with another limited 7" that's not to be missed!

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Fatamorgana

LP | 2022 | EU | Original (La Vida Es Un Mus)

19,79 €* 21,99 € -10%

Pursuit Of Ends Mustard Vinyl Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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Fatamorgana is the Universe, and Ahora Aquí, Todavía No the journey that will take you through it. Patrycja and Louis will be your guides, and with their Bass Station, RX11, JP-8000 and ethereal voices acting as a synth-pop spaceship, all the marvels and mysteries they have seen will be revealed, because they "want to fly and swim at once, forever, in another density". The Barcelona-based duo continue to hone their brand of electronic post-punk, dishing out beats, hooks and atmospherics in generous servings, and whilst it retains much of the stark minimalism of their first LP (2019's Terra Alta), Ahora Aquí, Todavía No somehow feels deeper, more lush and considered. Clearly influenced by music from the 1980s - synth-pop, new wave, post-punk - Fatamorgana manage to create a sound that avoids standard retro manouevering, landing instead on something distinctly their own - an album made from cold sounds, that in their union become warm. A record that could just as easily soundtrack an afternoon's solitary contemplation as a night on the dancefloor.

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High Pulp

LP | 2022 | EU | Original (Anti)

Release: 2022 / EU – Original

Genre: Organic Grooves

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CD | 2010 | EU | Reissue (Blue Note)

Gregory Porter

Water

13,99 €*

Tape | 2022 | US | Original (Wichita)

Release: 2010 / EU – Reissue

Genre: Organic Grooves

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Gregory Porter’s debut studio album Water was released in 2010 under the Motéma Music label, and will be re-issued on Blue Note on April 8, 2022.

The album was recorded in the summer of 2009. The tracks include love stories, such as Illusion and Pretty, or protest for African-American civil rights, such as 1960 What? which recounts the 1967 Detroit riots. Gregory Porter also covers saxophonist Wayne Shorter's Black Nile with added lyrics. He also did an a cappella rendition of Feeling Good, made famous by Nina Simone in particular

Water was hailed by fans and critics alike, elevating Gregory Porter to the status of the next great male jazz star and marking the beginning of his successful career:

“Porter aptly refers to Water as “an album of love and protest,” though love is the clear victor. From the starkly beautiful “Illusion”, a hushed ode to a lost paramour; and rapturous “Pretty”, reminiscent of “A Taste of Honey”; to the percolated joy of “Magic Cup”, Porter knows how to get to the heart of the matter." - Christopher Loudon, JazzTimes

Gregory Porter pulls off a masterstroke on a debut album that should mark the beginning of a fine career" - JazzMagazine/Jazzman

Phil Johnson of The Independent wrote "Tipped by Jamie Cullum as one to watch, Porter is a deep-voiced vocalist from Bakersfield, California. There's an obvious debt to Kurt Elling but Porter seems relatively unbound by technique, sounding less mannered and more soulful as a result".

Water got nominated for the Grammy Awards for Best Jazz Vocal Album in 2011.

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Carrtoons

Home Grown

Bert Dockx, Josse De Pauw & Ottla

Release: 2022 / US – Original

Genre: Organic Grooves

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A year and a half after releasing his self-produced, independent full-length LP Saturday Morning to critical acclaim, producer and multi-instrumentalist Carrtoons plans his return to music with his next album, Homegrown. Evolving his trademark Modern Motown sound, Carrtoons continues to expand his already diverse musical repertoire in jazz, soul, hip-hop, and more. Set for release on April 20th, 2022, Homegrown is Ben Carr's inaugural release with renowned Wichita Recordings (Bloc Party, First Aid Kit, My Morning Jacket, Yeah Yeah Yeahs.) The youngest son of jazz violinist Richard Carr (Bill Laswell, Bootsy Collins), Ben received his college degree in Jazz Performance, made his debut with Mad Satta, and opened for artists like Thundercat, Nick Hakim, Gabriel Garzon Montano, and Mac Ayres. Over the last few years, he has become one of the most sought-after producers in music through his eye-catching Instagram videos, powerful bass lines, and memorable melodies. His unique fills, phrases, and compositions made him an instant favorite, leading to recent collaborations with Robert Glasper, Alex Isley, Kiefer, and Butcher Brown. The success of Saturday Morning was the first sign of evolution in Carrtoons career, with the album surpassing 2 million streams on Spotify in mid-February. The ad placement of his track "Give It Up" with Green Mountain Coffee gave him exposure to a whole new audience, while his guest feature on the Tiny Desk series rearranging the NPR theme songs for their 50th anniversary was also a hit. Starting 2022 off strong, Carrtoons' recent work with The Kount led to the release of their ultra-viral video "On My Way" and the organic growth of over 100,000 followers in 4 weeks on Instagram. His continued strides in music, along with astonishing growth across several platforms is clear indication of Ben Carr's promise and potential. More than just an album; Homegrown characterizes the hard work, seeds sown, and natural growth of a gifted musician. An artist you will want to watch!

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Kroniek Van Het Vuur (Live) Record Store Day 2022 Dark Red Vinyl Edition

12" | 2022 | EU | Original (Unday)

Feminina Feat. Mauricio Maestro Record Store Day 2022 Vinyl Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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You might know Bert Dockx from the inimitable alternative jazz-rock-trio Dans Dans; or from his moody, psychedelic rock formation Flying Horseman; or from his more intimate but equally special solo records. In 2019, the ever productive guitarist released an album with Ottla, a jazzy sextet blending different genres, textures and moods in wholly original ways, resulting in long, evocative pieces, brooding with tension and atmosphere. Recently, the band has transformed into a quartet, a tighter unit with a sparser and slightly more electric sound. This new Ottla is playing a mixture of reimagined tracks from the aforementioned album, and several brand new pieces. Ottla's music - like all music for which Dockx is responsible - is imaginative, intense and deeply felt.

In the spring of 2021, actor and writer Josse De Pauw contacted Bert with a question. He wanted to perform work of the Uruguayan writer Eduardo Galeano on stage, texts about the madness of colonialism and slavery, and about the beauty and mystery of the jungle, and asked Dockx to come up with a live soundtrack. Dockx invited two friends from his jazz band Ottla (Thomas Jillings and Louis Evrard) and a fourth musician (bass player Axel Gilain). He composed new material, adapted some existing Ottla pieces and could count on the improvisational talent of his fellow musicians for the rest of the soundtrack. In a handful of rehearsals, an impressive concert was put together that captivated the audience during a short run in August. This live EP contains two pieces recorded on one of these blistering evenings. Side A opens with the authoritarian voice of De Pauw, who recites the Song of the Fire, before making way for a scorching, almost apocalyptic version of 'Stofwolk'. On side B we hear Thomas Jillings perform an impressionist clarinet improvisation while De Pauw conjures up images of the unlimited sea and the winds, ships and slaves, heaven and hell.

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Joyce

12" | 2022 | EU | Original (Far Out)

Full Moon Feat. Neil Larsen And Buzzy Feiten

Release: 2022 / EU – Original

Genre: Organic Grooves

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Record Store day exclusive. For the first time on vinyl! The fabled extended recording.... from the unreleased 1977 Natureza album produced, arranged, and conducted by Claus Ogerman.

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Full Moon

LP | 1982 | JP | Original (Warner)

Release: 1982 / JP – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

12" | 2022 | EU | Original (Haggis)

The Jazz Defenders

King Phoenix

Cults Percussion Ensemble

Release: 2022 / EU – Original

Genre: Organic Grooves

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Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (bbc 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (bbc Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.
The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.
A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.
"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.

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The Cults Percussion Ensemble

LP | 1979 | EU | Reissue (Trunk)

Science Fiction Dance Party

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Limited Repress With NEW (original) Artwork. Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record. The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis. My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed. The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded. Sleevenotes also include a letter from Ron Forbes: “I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”. Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

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LP | 2009 | UK | Reissue (Finders Keepers)

Release: 2009 / UK – Reissue

Genre: Organic Grooves

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Back in 1968 a pair of Germanic behind-the-scenes sound librarians called Horst Ackermann and Heribert Thusek left a tiny, but indelible, pinprick on the history of German Pop in the misshaped form of a sexy horror cash-in concept album called Dracula’s Music Cabinet. Shelved at a micro-cosmic axis where Krautrock meets lesbian vampire Horrortica and easy listening meets psychedelia the delayed reaction of this mutant concoction eventually exploded in the mid-1990s in the hands of a generation of ‘record diggers’ sending currencycrushing tremors through the wallets of mods, rockers, hip hoppers, psych nuts and kraut kompletists around the plastic-pillaging planet. The vinyl junkies had resurrected a monster, but, like addicts do, they ravenously sucked it dry and moved on looking for the next fix to feed their habit. Luckily for some, Ackermann and Thusek were also creatures of habit. And it wouldn’t take a genius to figure out that they were holding the next dose, but by the turn of the millennium the mad scientists had been given a thirty-five-year head start on the pop archeologists and their mythical sequel was literally light-years ahead of their previous draconian installment... Encouragingly the unclosed cabinet left a shiny white clue in the form of it’s closing track Frankenstein Meets Alpha 7... Perhaps space was the place. Always read the label. The Ackermann and Thusek duo were far from dynamic. They were undercover agents hiding behind user-friendly mock-rock monikers and, like most B-Musicians, the only way to sniff them out would be to read the small print. But when an unidentified record on an unknown label with a title like Science Fiction Dance Partycrops up in the Eins Deutschmark crates it’s not exactly rocket science - although the track titles might suggest otherwise. The End Of A Robot, Monster On Saturn 1, Galactic Adventures Of The Outer Space Fleet , The Whistling Astronauts, Death Rays Out Of The Universe’.. The telltale signs are all there and if that vintage psycoplasmodic Colored Vinyl doesn’t clench the deal then what will. When rumours about a space-age follow-up to Dracula’s Music Cabinet hit the straße Deutsche-o-phile diggers fingers started twitching nervously

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2LP | 2022 | EU | Original (Smalltown Supersound)

Frijazz Mot Rasisme

Carol Sloane with Joe Puma

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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The second release on Smalltown Supersound’s highly promising offside jazz label, ‘Le Jazz Non Series’ follows Bendik Giske and Buttechno’s mighty label opener with a killer compilation bursting with contemporary/outsider Norwegian free music as a show of solidarity against racism in the scene, with a title that translates to “Freejazz against racism“. Stitched and compiled by Anja Lauvdal and Tine Hvidsten, the set features 18 outsider Jazz burners centered around a varied and diverse cast of characters from the young Norwegian scene. While Norway has long had a positive relationship with free music, its players have invariably looked remarkably similar. “Frijazz mot rasisme” aims to address that by expressing the diversity of Oslo’s contemporary scene and show its commitment to anti-racism; of the players featured on the record, many are regulars at Norwegian demonstrations against local anti-Muslim organization Sian - with the compilation designed to collect funds for local anti-racist work. Musically, “Frijazz mot rasism” is a fractal head-fry of the highest order, dilating a fertile movement thru spiraling outsider-jazz. If musical nodes are needed for a point of reference, it flexes from Don Cherry-inspired communal psychedelia sprawlers to fiery shredders, modal percussive cyclones and lushly expressive instrumental virtuosity of a sort we can only imagine would short-circuit and frazzle a pack of bleating Viking gammons. With well over half the tracks originating from female artists, the set also represents a phase shift in perception, wickedly reprising the form’s historic function as fire music and a soundtrack to civil unrest, but with a decided female energy that’s more agitant than aggressive, in a way that might just calm and enlighten the xenophobes. There’s a tonne to get down with; Sanskriti Shrestha & Andreas Wildhagen’s modal tabla groover ‘Eight hands’ is a real standout, with subtle treats in the liminal thizz of ‘Up There’ by Propan, and a strikingly stark solo performance by Inga Aas, held in balance with tussling razz-outs like ‘One out of town’ feat. Brian Sandstrom, and scatting, Dadaist mischief by Agnes Hvizdalek that’s sure to pique interest along with the chaotic swarm of its shred-out finale ‘Primary Antibody’. Wall to wall enlightening, emotional bangers this one = highest Tip!

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Carol Sloane Live

LP | 1984 | JP | Original (Baybridge)

Release: 1984 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Japanese pressing with OBI.

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Eartha Kitt

Three Original Albums

2LP | EU (Vinyl Passion)

Release: EU

Genre: Organic Grooves

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Henriette Master Oogway With Eilertsen

Happy Village

LP | 2022 | EU | Original (Rune Grammofon)

LP | 2022 | EU | Original (Posh Isolation)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Håvard Nordberg Funderud - guitar and 12-string guitar Lauritz Heitmann Skeidsvoll - saxophone Martin Heggli Mellem - drums Karl Erik Hornsdalsveen - double bass Henriette Eilertsen - flute Back in 2020, Kafé Hærverk, Oslo's live hotspot for a wide range of jazz and experimental music invited Master Oogway to do monthly concerts from August to December, bringing along a guest for each occasion. Two had to be moved to 2021 due to Covid restrictions, but the other three were recorded for possible use later. Initially we thought about doing a "best of" from all of the recordings, but after further listening it soon dawned on us that the concert with Henriette was nothing less than magical. To make room for the 45 minute vinyl edition, we had to drop one of the five pieces that were played on the night, and also make two minor edits. Other than that, this is what was played, there are no overdubs or cosmetic treatments. The album was brilliantly mixed in Athletic Sound by Dag Erik Johansen. Henriette Eilertsen (28) is part of the fertile and exciting environment around the Motvind label, and a member of Billy Meier and Andreas Roysum Ensemble. She released her solo debut "Poems For Flute" on Motvind in 2021.Håvard Nordberg Funderud (28) finished his bachelor at the Norwegian Academy of Music in 2018 and also studied in Gothenburg and Copenhagen. He is involved in several projects, Master Oogway being his priority. Lauritz Lyster Skeidsvoll (28) and Karl Erik Horndalsveen (27) are both educated from the same academy in Oslo as Håvard, while Martin Heggli Mellem (25) is educated from the jazz program at NTNU in Trondheim."Happy Village" is Master Oogway's third album, their second on Rune Grammofon. The music on the previous outing two years ago ("Earth And Other Worlds") was all written by Håvard, while the music on "Happy Village" is written by Karl Erik, one track co-written with Håvard. "Happy Village" finds the band in a more lyrical and exuberant mood than before, in no small part due to Henriette's b...

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Croatian Amor

Remember Rainbow Bridge

Rob Record Store Day 2022 Red Vinyl Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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Remember Rainbow Bridge', the new album by Croatian Amor, is a homage to youth and the delicate metamorphosis that occurs as childhood trips into maturity. Focused on this tender flux, the songs on 'Remember Rainbow Bridge' are infused with the restless energy of adolescence and a dawning sense of mortality. From the sun-kissed title track, to the night burn and wet pavement of 'Paper Birds', monumental highs are shuffled with great lows that we perhaps feel most clearly and earnestly in those formative years. Since the earliest collages committed to tape under the name of Croatian Amor, Loke Rahbek's alias has at every step gravitated towards constant discovery and experimentation. The sound collages are still present while the unity of each song's construction now often conceals the juxtapositions and overlapping edges. Employing a medley of diffuse electronic music traditions, fantastical synthetic worlds are evoked and while 'Remember Rainbow Bridge' heavily relies on rhythmic structures to propel the compositions, Croatian Amor continues to tend a highly textured field in his own inimitable way. 'Remember Rainbow Bridge' is a celebration of the liminal space between phases of life, the chrysalis of youth. It is a record about coming to terms with our ever-changing place in the world, its title urging us to see the world with a child's eye, to never forget the miraculous at play only an arm's-length away. "This world as we see it is passing away"

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Rob

LP | 2022 | EU | Original (Mr Bongo)

Farewell To The Welfare Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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The Accra-born pianist and frontman, ROB, only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound. Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.

The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wahwah guitar spin us out before those imperious horns bring us back in.

And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed.

As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.

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Wendell Harrison

LP | 2022 | US | Original (Now-Again)

30,99 €*

LP | 2022 | CA | Original (Telephone Explosion)

Release: 2022 / US – Original

Genre: Organic Grooves

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The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about reecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” -Wendell Harrison The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

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Eucalyptus

Moves

I Sat And Cried / She's My Baby (Smokey's In Town)

Release: 2022 / CA – Original

Genre: Organic Grooves

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Moves is their sixth release, and somewhat of a milestone. In addition to it being the octet's most psychedelic and arrestingly soulful release thus far, it's also their longest—their first, in fact, to cross into bonafide full-length territory. They're marking the occasion by joining the roster of Toronto favourite Telephone Explosion Records.

Touted as “innately personal” by DownBeat Magazine, Brodie West's unique vision has been nourished by a bafflingly diverse array of sources. Meeting the legendary Dutch drummer Han Bennink in 2000 at age 24 not only sparked an ongoing creative partnership (including two records), but also led him in a number of other fruitful directions. Bennink was the connection to exploratory punks The Ex, who brought West aboard for their collaboration with Ethiopian saxophonist Getatchew Mekurya, which produced recordings and tours worldwide.

Where the Brodie West Quintet (Astral Spirits, Ansible Editions) trades in clever jazz asymmetry and his duo Ways is a stark and focussed exploration of rhythm, Eucalyptus is where this eclecticism is most audible. The band simmers with polyrhythmic percussion, laid-back jazz sweetness, various strains of psychedelic wonk, and subtle tropical aromas from dub on “Rose Manor,” named after the retirement home of his musical grandmother Lorna (ever a source of inspiration for West) to Bossa Nova, as heard on “It's In A Move.” Its streaks of free-form bedlam and pure sonic texture keep listeners poised for perplexity and cheerful volatility.

Moves manages to approximate the playful, intoxicating warmth the band conjures in their beloved local live appearances. Eucalyptus has made a tradition out of mounting month-long residencies at Hirut, a cozy east-end eatery that serves delicious Ethiopian cuisine. Hirut even gets a nod in the credits. Perhaps it's because this record's subtle whimsy and inviting disarray draws so much from the spirit of those evenings.

A large part of this odd concoction's success comes down to West's co-conspirators, a veritable who's who of Toronto's underground music community. Trumpet player Nicole Rampersaud, who has since relocated to Fredericton, New Brunswick, has sculpted her unique tone as composer-in-residence at Halifax's Everyseeker Festival and in collaborations with the likes of Rakalam Bob Moses, Anthony Braxton, Joe Morris and Telephone Explosion's own Joseph Shabason. Ryan Driver (clavinet) has cut a series of gorgeous song records for Tin Angel Records, and collaborated with Eric Chenaux (Constellation) in various projects, while leading a number of his own imaginative outfits. Michael Smith (bass) plays with Toronto psychonauts the Cosmic Range and has toured and recorded with Mv+ee, Sandro Perri plus countless others. Fellow Perri collaborator, percussionist Blake Howard brings the palpable joy of his playing to collaborations with Marker Starling, Little Annie, and the surrealist mischief of GUH. 2021 saw Nick Fraser (drums) leading a disc on Hat-Hut's Ezzthetics imprint. It follows a string of other celebrated recordings with international out-jazz heavyweights like Tony Malaby and Kris Davis for Clean Feed, Astral Spirits and more. In addition to pursuing his delicate solo song work, drummer Evan Cartwright plays in both of West's other projects, and has performed and recorded with Tasseomancy, The Weather Station, US Girls, Badge Époque and Andy Shauf.

Another exciting development unveiled on Moves is the presence of guitarist Kurt Newman, who replaces longtime member Alex Lukashevsky. Newman's whirling treatments and colorful array of tones figure prominently into the ensemble's new and disorienting sound. Newman was the co-founder of premiere Austin improv festival No Idea alongside Chris Cogburn. A ceaseless collaborator who's worked with the likes of Sarah Hennies, Tetuzi Akiyama, Mats Gustafsson, he also leads his own projects such as Country Phasers and the Nashville Minimalism Unit.

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Jimmy Nelson

7" | 2022 | UK | Original (Kent)

LP | 1972 | JP | Reissue (P-Vine)

Release: 2022 / UK – Original

Genre: Organic Grooves

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Some records are irresistible. Jimmy Nelson’s ‘I Sat And Cried’ is an easy-going swinger of a disc that you feel you’ve always known – even on first hearing. It is a future classic that somehow has managed to stay a secret for decades. That is likely down to it being so rare (for whatever reason) that it doesn’t feature on Discogs and only two sales have ever been recorded on the Popsike website; they were cheap too!

We’ve coupled it with another great mover, ‘She’s My Baby (Smokey’s In Town)’, which debuts on a 45 – it was unreleased until an Ace LP way back in 1987. Two killer tracks on a lovely Repro design of that colourful early 60s label.

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Four-Um

Just Us

36,99 €*

Release: 1972 / JP – Reissue

Genre: Organic Grooves

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Ordinarily, private press albums by groups of unknown musicians don’t make their way back into circulation - they are lost due to their inaccessibility for public consumption and routine home clearouts. Little is known about Four-Um, the group who released the covers album Just Us in 1972, other than their association with Buffalo, New York and their own short-lived label Libra 7 Records. Just Us, however, has clung onto record collector shelves owing to the creativity of its jazz and soul-packed interpretations of classic tracks, and its strong cult-following.

Be prepared to be surprised by the shape of these reimagined classics. Aretha Franklin’s 'Day Dreaming' with its lush vocal arrangements echoes through halls of reverb, and sounds spritely psychedelic. Simon & Garfunkel’s 'Scarborough Fair' is stretched over seven minutes with warm break-out organ solos. Other highlights include covers of The Spiral Staircase's 'More Today Than Yesterday' and Burt Bacharach’s 'What The World Needs Now'. P-vine is delighted to reissue Just Us on limited edition vinyl for the first time ever with an obi strip attached.

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2LP | 2022 | Original (Analog Africa)

Saturno 2000

Steve Lacy / Andrea Centazzo / Kent Carter

Release: 2022 / Original

Genre: Organic Grooves

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In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (sound-system operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here [Mexico City] but it was Monterrey that popularised it.“

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Trio Live

LP | 1977 | EU | Reissue (Ictus)

LP | 2022 | EU | Original (Irma)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Originally issued in 1977, Trio Live was recorded in 1976, only a handful of days after Steve Lacy and Andrea Centazzo’s Clangs was laid to tape, presumably capturing another moment on the same two-week tour that had rendered the recordings for its brilliant predecessor. This time, the pair - Lacy and Centazzo - is joined by the American bassist, Kent Carter, a sinfully under-appreciated artist who had worked extensively in Steve Lacy's group, played on the two Jazz Composer's Orchestra LPs, and toured in the bands of Don Cherry, Alan Silva, Mal Waldron, Bobby Bradford, Max Roach, Roswell Rudd, Derek Bailey, John Stevens, Trevor Watts, Steve McCall and many others. The previous year, he had also delivered the stellar LP, Kent Carter Solo With Claude Bernard, as Ictus’ second LP, allowing Trio Live to be understood as a narrowing of an already tight circle, despite its slightly expanded ensemble.

Arguably best defining the first two entries in the Ictus reissue series - Clangs and Drops - is a sense of rigorous and artistry. While no less present across the length Trio Live, what takes the forward charge throughout its five tracks is a sense of joy and pure pleasure in playing together. The sounds and structural interventions are locked in and tight, feeling at ease and intuitively responsive in the ways that players with a history of collaboration are only able to produce.

From swinging and chugging to stepped back and sparse combinations of rhythm and tone - moving from the lingering sensibilities of straight-ahead jazz to radically out hard blow fire - Trio Live is a cornucopia of brilliant artistry and improvised music.

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Anduze

Aura

Little Anthony & The Imperials

Release: 2022 / EU – Original

Genre: Organic Grooves

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In a genre belonging to crooners like Marvin Gaye, Sam Cooke, James Brown and Otis Redding, authenticity is a requirement. Enter Anduze, a unique vocalis whose riffs evoke the retro sounds of the aforementioned artists, but reverently done his way – a fresh brand, re-imagines and crefted into a modern depiction of the era. Anduze was raised on his father’s native land of St. Croix in the US Virgin Islands. His distinctive upbringing still lines the threading of his creative fabric, which continues to expand into all corners of taday’s musical landscape. It’s been over a decade since Anduze last released a full album. A lot has changed and progressed since then. He left behind the LA/Hollywood nights in exchange for a better quality of life in Athens, Greece. Also, during this span, he’s been a multi-featured artist on collaborations with producers such as Satin Jackets, Art of Tones, LTJ Xperience, Gramatik, and more… However, his most noteworthy ascent is as lead singer (and songwriter) of Austrian act, Parov Stelar, with whom he tours worldwide. Still, with all his accomplishments within the electronic world, it was time for Anduze to get back to his own sound – Soul. Using the pandemic as an opportunity, instead of a crutch, Anduze recorded “Aura,” a nine-song album that blurs the lines of soul, funk, pop, folk, and R&B, with 20 contributing musicians. If you like Prince, Michael Jackson, Marvin Gaye, Lenny Kravitz, Terence Trent D’arby etc…this album takes influences from all their best moments and combines them into one mighty explosion that is simply, Anduze. These days he is also living the new life of his song in collaboration with LTJ Xperience entitled Bad Side which has been included in the new game update for Play Station GTA 'Los Santos' starring the DJ producer Moodyman and in the soundtrack of the new series And Just Like That, a popular follow-up to Sex And The City, which aired worldwide.

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Better Use Your Head / Gonna Fix You Good

7" | 2022 | EU | Original (Outta Sight)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Looking For You / As Long As I Have You

Garnet Mimms

7" | 2022 | EU | Original (Outta Sight)

Release: 2022 / EU – Original

Genre: Organic Grooves

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It Really Hurts Me Girl / Tom Moulton Remix

The Carstairs

7" | 2022 | EU | Original (Outta Sight)

Release: 2022 / EU – Original

Genre: Organic Grooves

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LP | 2022 | US | Original (Now-Again)

Eamon

No Matter The Season

LP | 1970 | US | Reissue (Prestige)

Release: 2022 / US – Original

Genre: Organic Grooves

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Etta Jones

Love is the Thing

7,99 €*

LP | 1971 | US | Original (Atlantic)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: G, Cover: F

US original.
Record with many hairlines, superficial scuffs and scratches.
Cover with four puncholes, discoloration from prior waterdamage, small writng on the back and a torn lower seam.

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Aretha Franklin

Aretha's Greatest Hits

6,99 €*

Release: 1971 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Genesis Clear Vinyl Edition

Harari

LP | 1977 | US | Reissue (Tidal Waves Music)

27,99 €*

LP | 2022 | UK | Original (CMG)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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Harari was formed in the late sixties and originally known as The Beaters, the South African group consisting of guitarists Selby Ntuli & Monty ‘Saitana’ Ndimande, bassist Alec Khaoli and drummer Sipho Mabuse decided to change their name to Harari during a tour through Rhodesia (now Zimbabwe) in 1976. The name is taken from a township outside Salisbury (which is now the capital, Harare). With their afro-rock/funk/fusion style they achieved huge successes back home and in the neighbouring states, and they were the first local black pop/rock band to appear on South African TV.

The Beaters/Harari had been disciples of ‘Soweto Soul’ – an explosion of township bands drawing on American soul and inspired by the assertive image of Stax and Motown’s Black artists. They supported Percy Sledge on his 1970 South African tour (and later Timmy Thomas, Brook Benton and Wilson Pickett). But their watershed moment was a three-month tour of Zimbabwe (then Rhodesia) where they were inspired by the strengthening independence struggle and musicians such as Thomas Mapfumo who were turning to African influences. On their return, the neat Nehru jackets that had been the band’s earliest stage wear were replaced by dashikis and Afros. In the process, they created a sound that was labelled all too simply as ‘Afro-rock’ but was really a fusion of funk- and rock-inspired rhythms with African roots.

In 1976 Harari were also voted South Africa’s top instrumental group and were in high demand at concert venues across the country (they were the first Black band to headline their own show at Johannesburg’s Colosseum Theatre). Harari released several albums and their South African based label (Gallo), even got them a two-album deal with the US major label A&M. Their single, 'Party', entered the American Disco Hot 100 in 1982. After the untimely death of Selby Ntuli in 1978 they would go on to record more albums with a new line-up but it was never the same again. By 1984 the group disbanded, and Harari’s members launched successful solo careers.

Harari was a band that was deeply rooted in pan-African politics, the parallel cross-influences of the Black Panther Movement and Black Consciousness. African American soul music and Soweto Soul contributed to the way Harari became purveyors of all the styles we know today as Afro-soul, Afro-pop and Afro-jazz. The Beaters/Harari left behind a body of work that fused traditional African sounds with rock, funk, jazz, soul and psychedelia into a unique and coherent sound. It shows their ability to capture the many genres flying around South Africa during a time of intense political and cultural shifts.

The album we are presenting you today (Genesis from 1977) comes swinging right out the gate with a set of six monster anthems, explosive up-tempo jams, gorgeous vocal harmonies and chants, Afro-centric fusions of rock, funk and indigenous influences. The album is packed with mesmerizing drum-grooves, psychedelic improvisations and catchy Afrobeat rhythms. This is a quintessential Harari record that every serious collector or fan needs to have in his collection.

Originally released in 1977 on Gallo Records South Africa (and later repressed in 1982 on the same label), Tidal Waves Music now proudly presents the first official reissue of this rare album (original copies tend to go for Large amounts on the secondary market…that is if you’re lucky enough to come across one). This is also the First time ‘Genesis’ is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and featuring the original artwork.

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Judi Jackson

Grace

31,99 €*

12" | 2022 | UK | Original (First Word)

Release: 2022 / UK – Original

Genre: Organic Grooves

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Sony CMG label release. Pitch perfect whether hitting magnificent highs or sliding into sultry depths, Judi’s voice recalls some of music’s great divas. The majority of this album was recorded in London or Milan between 2019 and 2021, with all fifteen songs written or co written by Judi. Other notable collaborators include Reuben James (John Legend, Nile Rodgers),Tim Baxter (Jasmine Thompson, Muse) and Tom Excell, leader of the UK’s acclaimed afro jazz collective Nubiyan Twist. Specialist promo/marketing activity across all media outlets.

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[ K S R ]

Peace + Harmony

LP | 2022 | EU | Original (Gringo)

Release: 2022 / UK – Original

Genre: Organic Grooves

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Hailing from Moss Side, Manchester, this young talent has been steadily building a rep for himself over the past few years as one of the UK's most exciting soul vocalists, with his releases encompassing an eclectic assortment of alternative R&B, future soul, hip hop and D&B. Influenced by an array of neo-soul artists, such as D'Angelo and Anderson .Paak, his own soulful style has already seen him tour and collaborate with a number of UK peers; working on projects with label-mates Children of Zeus & Australia's REMi, and supporting the likes of Etta Bond & The Mouse Outfit, as well as performing sell-out headline solo shows in Manchester and London, and playing various festivals across Europe, including the We Out Here festival very recently.

Since he began developing his music in 2017, [ K S R ] has had support from the likes of 1Xtra, BBC Radio 1, BBC Introducing, Mixmag, NTS, Reprezent, Unity & Soho Radio, in addition to featuring on a slew of D&B tracks with artists like Lenzman, BCee, Emba & Redeyes. The collab with Emba was recently named a 'Kiss FM Future Selection' courtesy of Hybrid Minds and features have been supported on Spotify's 'New Music Friday' and 'Mandem - Kings' amongst others. His debut release 'Unfiltered' appeared on Polarface Records in 2019, which was followed by single 'Flex With Me' (also produced by Tyler Daley from Children of Zeus) then an independent second EP, 'Take Control', followed in late 2020 (during the pandemic) which amassed over 500k streams. Additionally to the releases, he was recently recruited by Manchester United as part of their 21/22 season kit announcements, as well as working with Nike and Size? on a special MCR-themed Air Force 1 release.

It's now time for a new extended project from Roosevelt Kazaula Sigsbert - better known as [ K S R ]. 'Peace + Harmony' is a solid set of alternative R&B, produced by Dom Porter and mixed by Eric Lau. Six tracks in all, including the single, 'Harmless' (which received support from the likes of Mr. Scruff (Worldwide FM), BBC Manchester and Victoria Jane (bbc Radio 1), was 'Track Of The Week' on 1Xtra/BBC Introducing, and saw the video racking up several thousand plays in its first weekend) and follow-up 'cgwy' featuring Children of Zeus on a brand new interpretation of their classic track 'Get What's Yours'. From the intro track 'I Wonder', to the downlow future soul of 'Lily Apart', to the autobiographical vibes of 'Born In '98', to the closing track 'Given Summer', also featuring the vocals of Ayeisha Raquel, each track on the EP is of course laced with Roosevelt's unmistakable silky smooth vocals, and is set to join his already impressive catalogue of underground soul classics such as 'Alien Boo', 'Stylin' and 'New Love'.

[ K S R ] says "my third EP, [ P E A C E + H A R M O N Y ] is a collection of my thoughts and experiences from my journey throughout the last two years of my life. Lots of aspects of my life changed over 24 months, along with everyone around the globe. When we were thrown into the unknown at the start of 2020, I stepped away from music for a while as I couldn't find any peace in my creativity and needed to evolve. I finally started to feel cohesive with my songwriting and music, and I could feel harmony between myself and my art once again."

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Holodrum

28,99 €*

LP | 1966 | EU | Reissue (Far Out)

Release: 2022 / EU – Original

Genre: Organic Grooves

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FFO: Arthur Russell, Stealing Sheep, Neu!, Agar Agar, Galaxians. Holodrum are a new disco-infused synth-pop group, who feature members of Hookworms, Yard Act, Cowtown, Virginia Wing, Drahla and more. Maybe Holodrum were destined to start at this point. This might be the first time they've all officially worked together, but between Emily Garner (vocals), Matthew Benn (synth/bass / production), Jonathan Nash (drums), Jonathan Wilkinson (guitar), Sam Shjipstone (guitar/vocals), Christopher Duffin (sax/synth) & Steve Nuttall (percussion) they've shared bands, mixed each other's records, promoted live shows and made music videos together in and around Leeds. As Holodrum, this is the 7 piece's debut album, but the interlocking grooves and hot headiness of their repeato-rock-via-CBGBs dopamine hits have in one way or other been fermenting for years. "When it comes to doing music most bands fall between two extremes of doing it for some goal or as an end to itself" says Shjipstone. "I think Holodrum is about the joy and complexity of living, and I just hope to god everyone gets to have a good time doing it." Ultimately the core of the group comes from Shjipstone and his former Hookworms bandmates Benn, Nash and Wilkinson. After their abrupt dissolution in late 2018, the four of them spent 6 months apart; Benn still had Xam Duo, his ongoing project with Virginia Wing and some-time James Holden & The Animal Spirits live member Duffin, Nash remains vocalist and guitarist of long-running DIY rockers Cowtown and helms his solo project Game_Program; and Shjipstone plays guitar with Yard Act. However, the 4 of them missed the sixth sense synergy they'd built-up playing together over a decade and soon enough demos were being swapped and new ideas were discussed. The vision of a large live electronic ensemble formed quickly. Friends were added: Duffin and Nuttall who was keen to resurrect the double percussion interplay that he and Nash had been exploring as part of motorik trio Nope joined first. Then animator and V...

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Jose Roberto Bertrami

Jose Roberto Trio

23,74 €* 24,99 € -5%

Magnetic Eyes Colored Vinyl Edition

Release: 1966 / EU – Reissue

Genre: Organic Grooves

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First time vinyl reissue of Jose Roberto Bertrami's 1966 ‘José Roberto Trio’ via Far Out Recordings. Best known as the keyboardist and bandleader of legendary trio Azymuth, the late José Roberto Bertrami also wrote for, arranged for and performed with Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim and Erasmo Carlos, among countless others.

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Jeff Phelps

LP | 1985 | US | Reissue (Numero Group)

2LP | 2022 | EU | Original (Afar)

Release: 1985 / US – Reissue

Genre: Organic Grooves

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Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill_close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984_allowing multi tracking on the far more financially inclusive cassette tape_Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985's "Magnetic Eyes" LP and Antoinette's "Now You're Gone" 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business.Jeff Phelps eventually found his way back into performance and recording, starting with The Next Level Band near the end of the decade. Houston gourmands might have caught them at the opening of Texas's first Cheesecake Factory. "Magnetic Eyes" has already had a few lives, between TomLab's 2010 replica pressing and inclusion on Dante Carfagna's genre-defying Personal Space compilation. This 2021 edition features the heretofore un-re-released second mix, completed after discovering flaws in the initial 1985 pressing. Enjoy this technically perfect, artist-approved version of a visionary techno-adjacent masterwork.

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Abiodun Oyewole

Gratitude

33,99 €*

LP | 2022 | US | Original (Sub Pop)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Gratitude is the eagerly anticipated new solo album from Abiodun Oyewole, the poet, teacher and founding member of The Last Poets. The album liner notes include an extensive new interview with Abiodun himself, detailing the writing process of the album. Looking back, the Last Poets are often referred to as the godfathers of rap, and by listening to their early recordings; it's easy to hear why. Their words encompass revolution, sex, death, drugs, and Black Power - they own their words. From their mouths - words are a sense of pride, a statement, and a feeling of empowerment. There's no self-conscious hang-up with the Last Poets using words as an art form. On May 19th, 1968 (in celebration of Malcolm X's birthday), The Last Poets performed their first ever concert in Mount Morris Park (in Harlem), now called Marcus Garvey Park. Their debut album was released in 1970 including poet/singer Abiodun Oyewole. Now AFAR is proud to present a whole new way of thinking socially, politically, emotionally, and humanly - via the perspective of Abiodun Oyewole of The Last Poets with his new solo album 'Gratitude' - it's not a protest album, it's an inspirational LP/CD via the inclusive words and God-like voice of Abiodun - this is not an angry man, but an older wiser man - reflecting on his life and spiritual quests. Rappers love him for coining the phrase "Party and Bullshit" decades ago - but this is not that - this is a sacred journey with a universal message for all people regardless of their background and nationality. // "One Of The Most Influential Spoken-Word Groups That Pioneered Hip-Hop" NPR // "Experimenting With Street Poetry And Percussive Sound, The Music Of Harlem's Last Poets Helped Lay The Groundwork For Hip-Hop" Rolling Stone //Ltd edition Double Black Vinyl + Interview booklet. CD, Capacity wallet + interview booklet.

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Charlie Gabriel

89 Gold Vinyl Edition

Pape Nziengui Et Son Groupe

Release: 2022 / US – Original

Genre: Organic Grooves

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Limited-edition first pressing on translucent gold vinyl. Sub Pop debut by Preservation Hall Jazz Band member and 89-year-old clarinet and saxophone legend Charlie Gabriel from New Orleans, Louisiana. This is Charlie's first album as a bandleader. He has played with Lionel Hampton, Charles Mingus, Cab Calloway drummer J.C. Heard, Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more. "I've been playing since I was 11 years old," says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, "I never did anything in my life but play music. I've been blessed with that gift that God gave me, and I've tried to nurse it the best way I knew how." While he's faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter's passing of his brother and last living sibling, Leonard, lost to Covid-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. "I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in." That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel's first professional gig dates to 1943, sitting in for his father in New Orleans' Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he's also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader. Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That's It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. "We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation," Charlie says, further musing, "Musical conversations cancel out complications." 89 includes six standards and three newer pieces on which Gabriel is a writer: "Yellow Moon," "The Darker It Gets" and "I Get Jealous." The record also marks Charlie's return to his first instrument, clarinet, on many of the tracks. "The clarinet is the mother of the saxophone," he says. "I started playing clarinet early in life, and this [taught me] the saxophone." Finally, 89 includes three tracks of Charlie singing. "I always sung, but it wasn't my forte to become a singer," he says. "The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them."

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Kadi Yombo

2LP | 2022 | US | Original (Awesome Tapes From Africa)

30,99 €*

Vibro Success Intercontinental Orchestra

Release: 2022 / US – Original

Genre: Organic Grooves, Rock & Indie

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Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it's Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo's capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui-not only the musician, but the man-someone whose age hasn't altered any of his freshness or authenticity.

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Drunkard

LP | 2022 | EU | Original (Dig This Way)

Marvin Gaye's Trouble Man Adapted 50th Anniversary Edition

Release: 2022 / EU – Original

Genre: Organic Grooves

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Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra. 1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s. We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top! At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy. A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album. One of the foundational beliefs of Dig This Way Records is to work hard and try to do everything possible to bring back this rare, unknown music to market, allow people to enjoy these beautiful, vibrant vibes!

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Low Res

LP | 1972 | EU | Reissue (S'plat)

Mike James Kirkland With James Gadson

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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"Marvin Gaye's Trouble Man adapted and conducted by Low Res"

Marvin Gaye was extremely proud of his pioneering film score for the “blaxploitation” film “Trouble Man”. In 1982, he commented: “The "Trouble Man" film score was one of my loveliest projects and one of the great sleepers of all our time. I'll probably be dead and gone before I get the probable acclaim from the "Trouble Man" album, musical track, that I feel I should get. And put to a symphony, if someone took my album and did a symphony on it, I think it would be quite interesting.”

American musician Daniel Zelonky (aka “Low Res”) had been captivated by this record for decades. Given the opportunity to recreate and conduct the entire film score live with a 36 piece orchestra at Voohuit, a beautiful classical venue in Gent, Belgium he set about meeting this daunting challenge: to be faithful to the feeling of the original and yet to create something "new", to expand upon certain elementts in a formal way, no "jamming" on the themes.

After a very successful performance, the resulting recordings were augmented in studio with additional instrumentation, and with the vocals of Blackwolf, singer of the late, lamented "Kings Go Forth" (Luaka Bop Records).

We think that the crate-digging denizens of the original soundtrack, and the curious Marvin Gaye fans alike will find much to enjoy in this 50th Anniversary tribute to Marvin's Blaxploitation masterpiece!

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Time & Space

7" | 2021 | UK | Original (Cannonball)

Release: 2021 / UK – Original

Genre: Organic Grooves

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10" | 2022 | JP | Original (P-Vine)

Weldon Irvine

Time Capsule EP

21,24 €* 24,99 € -15%

LP | 2020 | US | Reissue (Nightnote)

Release: 2022 / JP – Original

Genre: Organic Grooves

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The impact of Weldon Irvine’s music across a wealth of genres cannot be overstated with his jazzy piano playing and compositions regularly passed down to newer generations. Artists like Q-Tip and Mos Def are noted admirers of the jazz-funk artist, and the distinct sounds of Irvine echo across the ages in samples etched into hip-hop history. The album version of Time Capsule was originally released in 1973, and this is a brand new 10 inch EP edit aimed at DJs looking to incorporate its album tracks in their set. While the original album had social commentary, and spoken word reflections signpost the way through its otherworldly jazz, this EP contains just the music. Two versions of "Deja vu" on side A, and "Feelin' Mellow" and "Watergate --- Don't Bug Me!" on side B.

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Phi-Psonics

The Cradle

7" | 2022 | EU | Original

Release: 2020 / US – Reissue

Genre: Organic Grooves

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Los Angeles based, Phi-Psonics is an instrumental project with an introspective, improvisational approach to creating a lush, immersive soundscape for the listener.
Phi-Psonics is produced by Seth Ford-Young (Tom Waits, Edward Sharpe) who also plays acoustic bass. Joining Ford-Young are two of his old Edward Sharpe bandmates; Josh Collazo on drums and Mitchell Yoshida on electric piano. Sylvain Carton (Beats Antique, Jon Vanderslice) provides Saxophones and Flutes.

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Feed LA

Cihangir / Feed Lala

11,99 €*

LP | 1963 | US | Original (Prestige)

Release: 2022 / EU – Original

Genre: Organic Grooves

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From the famed German Funk outfit, Poets of Rhythm, Future Jazz group Faruk Green and studio magician, multi-instrumentalist and Jamie Lidell collaborator, Daniel Raymond Gahn, Feed LA was born.
“Cihangir” with its Jazzanova style drumming and perfectly warm vintage Rhodes keys can play 6 times before you’re ready to move on. The flip side is an amalgamation of hefty funk drumming, inspired breakdowns and fuzzed out freeform flourishes that are quickly becoming a signature sound of this Munich & Berlin based Quartet. Hand stamped by Michael "Treetop" Voss.

The Players:
Michael “Treetop” Voss
Jeff Ozdemir
Daniel Raymond Gahn
Özgür Bayraktar

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Etta Jones

Hollar!

LP | 1986 | US | Original (Elan Vital Music)

Release: 1963 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: G+, Cover: VG+

US Original

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Sounds Ov Earth

Solstice

Suite Nihonkai Transparent Red Vinyl Edition

Release: 1986 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Cover shows storage wear and a sticker on the front. Vinyl has scuffs and some scratches. US pressing.

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Chisato Yamada

LP | 1981 | EU | Reissue (Cinedelic)

Brenda Taylor / NYC Peech Boys

Release: 1981 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Limited edtion of 200 copies on transparent red vinyl.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.
Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

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You Can't Have Your Cake And Eat It Too / Don't Make Me Wait Dr Packer & Michael Gray Reworks

12" | 2022 | EU | Original (West End)

15,99 €*

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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As no strangers to the West End Records back catalogue – both having taken on remix duties individually in the past – 2022 sees Michael Gray and Dr Packer combine to give two classics the Rework treatment. Brenda Taylor’s seminal “You Cant Have Your Cake And Eat It To” is finessed into a contemporary disco standard: Taylor’s voice still cutting through with plenty of soul while synth and pianos provide the groove. “Don’t Make Me Wait” cuts a slightly edgier tone, with acid-like bleeps and plenty of reverb making it a perfect counter track as part of this release.

Another set of essential Reworks from West End.

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Release: Original

Genre: Organic Grooves

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LP | 2022 | EU | Original (Vampisoul)

Panal