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Name: V.A. - Space Echo
Brand: Analog Africa
SKU: 471798
Price: 34.99 EUR
Availability: InStock

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V.A.

Space Echo

2LP | 2016 | EU | Original (Analog Africa)

34,99 €*

Incl. VAT plus Shipping Costs

Release: 2016 / EU – Original

Genre: Organic Grooves

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In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held. It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside – however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area. Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. “No need for Portuguese rocket scientists to explain this!” they laughed.

What the villagers didn’t know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently. The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as “The Cosmic Sound of Cabo Verde”.

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Gloria Ann Taylor

Love Is A Hurtin' Thing / Brother Less Than A Man

7" | 2015 | US | Original (Luv N Haight)

9,99 €*

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Release: 2015 / US – Original

Genre: Organic Grooves

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Originally released on Gloria and her husband Walter Whisenhunt’s label Selector Sound as a 7in single, “Love Is A Hurtin’ Thing” features her soaring vocals
backed by luscious strings, orchestral horns and a searing guitar. On the flip is “Brother Less Than A Man” which sounds like a proto Funkadelic
/Parliament psychedelic funk bomb. Pressed as a 7in single on the House Guests label, it highlights a grittier side of her singing that matches the song’s depth and intensity. Backed by a rhythm section featuring Bootsy Collins and brother Catfish who along with Gloria and her husband founded the label
after leaving James Brown’s band. Look for the similarly titled anthology of Gloria’s ouput on the Selector Sound label to drop later in 2015.

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WDR Big Band Cologne

Metro Big Band Boom

LP | 2015 | EU | Original (Jazzline)

15,99 €*

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Release: 2015 / EU – Original

Genre: Organic Grooves

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Pat Thomas & Kwashibu Area Band

2LP+CD | 2015 | EU | Original (Strut)

26,99 €*

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Release: 2015 / EU – Original

Genre: Organic Grooves

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“I’m an afrobeat drummer but Pat Thomas is highlife. That is what he does so well.” -Tony Allen

Coming in June, we are proud to announce the brand new studio album by one of Ghana’s all-time great vocalists, “The Golden Voice Of Africa”, Pat Thomas, in conjunction with the Kwashibu Area Band led by multi-instumentalist Kwame Yeboah (Cat Stevens, Patrice) and saxophonist Ben Abarbanel-Wolff (Ebo Taylor, Poets of Rhythm).

A regular collaborator with Ebo Taylor, Thomas was mainstay of the ‘70s and ‘80s Ghanaian highlife, afrobeat and afro-pop scenes, hitting big with the Ghana Cocoa Board-sponsored Sweet Beans band. Thomas’ new album marks over 50 years making music and reunites him with old friends: Ebo Taylor provides horn arrangements, Tony Allen contributes drums to several tracks, Osei Tutu (Hedzolleh Sounds) plays a memorable trumpet solo and prolific 1970s bassist Ralph Karikari (The Noble Kings) also features. Younger generation stars appearing include bassist Emmanuel Ofori, percussionist “Sunday” Owusu and Pat Thomas’ daughter Nanaaya, an acclaimed vocalist in her own right.

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Harmonious Thelonious

Santos

LP+CD | 2015 | EU | Original (Italic)

23,99 €*

Incl. VAT plus Shipping Costs

Release: 2015 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms.

For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance.

The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

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Donald Byrd

Byrd In Paris

LP | 1958 | UK | Reissue (Sam)

37,99 €*

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Release: 1958 / UK – Reissue

Genre: Organic Grooves

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»They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well-served in Paris.« (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France … The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the "Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, "Dear Old Stockholm", adapted from a Swedish traditional song; on "Flute Blues", Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like "The Blues Walk"? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…

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Funkadelic

Maggot Brain Colored Vinyl Edition

LP | 1971 | UK | Reissue (Westbound)

23,99 €*

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Release: 1971 / UK – Reissue

Genre: Organic Grooves

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There is no doubt about it, Funkadelic’s 1971 masterpiece is a classic recording. Ignored for years, it is now considered to be one of the all-time greats; an intoxicating mix of funk, soul and rock that showcased a group who were unlike any others at the time.

The album’s critical reputation rests on its title track. An extended instrumental, Eddie Hazel lays down more than 10 minutes of astounding improvisation, over a simple rhythm section. It is said that the album was recorded after the band had taken some yellow sunshine acid, and George then asked Eddie to play as if he had just heard that his mother had died, and then as if he had heard that she was in fact still alive. The resultant joyous release makes for one of the most exhilarating listening experiences that one could wish for.

However this is more than simply a one track album. There are shorter more direct songs such as ‘Hit It And Quit It’ and ‘Can You Get To That’ that give a sense of the pop sensibilities that lie behind all the weirdness. It is a measure of bandleader George Clinton’s production skills that he is able to successfully integrate these numbers with the proto heavy-metal of ‘Super Stupid’ or the apocalyptic ‘Wars Of Armageddon’.

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Dérobé Dance Band

Gogoplata / Kem Dahg

7" | 2014 | US | Original (Secret Stash)

9,99 €*

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Release: 2014 / US – Original

Genre: Organic Grooves

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Combining the sounds of Afrobeat, Ghanaian Funk, and Ethio Jazz, Derobe (Pronounced Day-Row-Bay) Dance Band creates a unique brand of heavy dance music tinged with dark intensity. Their debut 45, "Gogoplata" b/w "Kem Dahg," was recorded at Secret Stash in late 2013. The haunting melodies and intense driving rhythms crafted by this 13 piece Minneapolis based outfit make this record a must have.

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V.A.

Kenya Special: Selected East African Recordings From The 1970s & '80s

3LP+7" | 2013 | UK | Original (Soundway)

27,99 €*

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Release: 2013 / UK – Original

Genre: Organic Grooves

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Soundway Records present Kenya Special: Selected East African Recordings from the 1970s & ‘80s - a treasure-trove of rare and unusual recordings from East Africa. Spread out over two CDs and one triple LP, Kenya Special is accompanied by detailed liner notes, original artwork and photographs.

It follows on from Soundway’s much acclaimed African ‘Special’ series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana. Kenya Special is a collection of 32 recordings (most of which were only ever released on small-run 45rpm 7" singles) that stand out as being different or unique as well as some classic genre standards. From Kikuyu language ‘liquid soul’, Luo benga and Swahili afrobeat to genre-bending Congolese and Tanzanian tracks recorded in Nairobi, Kenya Special sees Soundway yet again taking the less trodden path. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Kenya was at the time.

In 1970s Kenya the two threads of rumba and benga loosely dominated the music scene. Benga quickly became Kenya’s unique contribution to afro-pop; spreading like wildfire through the interior countryside with it’s fast, 4/4 machine-gun beat and intricate electric guitar layers. The Congolese take on Afro-Cuban rumba was introduced by touring bands many of whom settled in East Africa - influencing bands from Kenya and Tanzania to come up with their own take on this popular style. Alongside these styles were small ensembles and hotel-sponsored bands, playing a blend of music that often included rock ‘n’ roll riffs, elements of ‘afro’ music (influenced by West African musicians like Fela Kuti), and multiple other combinations from South African and Zambian guitar styles to disco, funk and Swahili coastal rhythms like chakacha.

Painstakingly compiled, assembled and researched over two years by a team of five people from five countries (Kenya included), Kenya Special is a collection that looks beyond the mainstream and brings new life and recognition to some little known gems and forgotten classics of Kenya’s past.

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Meridian Brothers

Desesperanza

LP | 2012 | UK | Original (Soundway)

21,99 €*

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Release: 2012 / UK – Original

Genre: Organic Grooves

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Straddling the line between new and old, Meridian Brothers’ mischievous blend of Latin rhythms and psychedelic grooves is the creation of Eblis Álvarez, one of the key figures of the experimental music scene in Bogota. As with all of the Meridian Brother’s releases, every instrument on ‘Deseperanza’ was played and recorded by Eblis himself.

A true avant-garde guitar player and composer, Eblis also plays in Mario Galeano’s band Frente Cumbiero and was one of the 42 musicians involved in the recording of Ondatrópica.

Meridian Brothers are at the core of a burgeoning music scene with cumbia, salsa and currulao all being explored by a new generation of Colombian musicians. Last year’s "Meridian Brothers VII" received key recognition from New York’s Names You Can Trust, who combined two of its tracks on a highly collectible special edition 7”.

‘Desesperanza’, Meridian Brothers first fully-fledged worldwide release, is dedicated exclusively to salsa and tropical music, twisting it through a dark and theatrical psychedelic soundscape but never abandoning the traditional aesthetics.

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Back Street Band

Shake

12" | US | Original (Jenk-Al-Ron)

16,99 €*

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Release: US – Original

Genre: Organic Grooves

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World Psychedelic Funk Classics

Psych-Funk 101

2LP | 2009 | US | Original (World Psychedelic Funk Classics)

33,99 €*

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Release: 2009 / US – Original

Genre: Organic Grooves

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Psych-Funk 101 introduces students to the global phenomenon of psychedelic funk music, and covers the “golden years” of the movement, from approximately 1967 until 1980. This compilation does not focus on American and British bands. Rather it focuses on the bands throughout the Global Village that were influenced by the innovation of American and British bands – that many times one upped the heroes they sought to emulate.
This compilation focuses on bands influenced by James Brown, The Meters, Sly and The Family Stone, Booker T and The MGs and The Bar Kays and unsung rhythmic forces such as drummers Bernard Purdie, Idris Muhammad, Earl Palmer, bassists such Carol Kaye and Jimmy Lewis. It focuses on bands who took that energy and combined it with the flair of psychedelic-rock musicians such as Jimi Hendrix and the ensemble known as Cream – as well as pop-rock acts taken by the experimental side of psychedelia such as The Beatles. But these bands added their own, unique cultural flourishes.
The result is mind-bending. Think about it for a second – what musical forces were greater than that of funk and psychedelic music in the late 60s and early 70s? These forces, combined by bands happy to incorporate folk music and improvisational elements from other musical forms, lead to an amazing body of work still being unearthed by researchers the world over – and still capable of inspiring new investigations into shapes of rhythm.

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