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Name: Azar Lawrence - Shadow Dancing Clear Vinyl Edition
Brand: Tidal Waves Music
SKU: 864919v1
Price: 32.99 EUR
Availability: InStock

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Azar Lawrence

Shadow Dancing Clear Vinyl Edition

LP | 1985 | US | Reissue (Tidal Waves Music)

32,99 €*

Incl. VAT plus Shipping Costs

Release: 1985 / US – Reissue

Genre: Organic Grooves

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Saxophonist Azar Lawrence (born 1952) needs little introduction, as a young musical prodigy he was lovingly tutored by his mother, who taught music and led their church choir. At age 5, he played violin in the Los Angeles Junior Symphony, then viola, but his ears were turned to the saxophone at age 13. Azar spent his teen years immersed in jazz at the home of his best friend, none other than the late Reggie Golson, son of the great composer/arranger/saxophonist, Bennie Golson. From then on it was jazz, jazz and more jazz!

Azar Lawrence began his jazz career at the renowned Dorsey High School Jazz Workshop. After high school he played in Horace Tapscott's ‘Pan Afrikan Peoples Arkestra’ and started performing in the Los Angeles club circuit. He soon found himself playing with the Ike & Tina Turner band, the Watts 103rd Street Band and War. At the age of 19, Azar joined John Coltrane’s drummer Elvin Jones for over 3 years before being invited by McCoy Tyner to join his quartet (an alchemy that lasted for 5 exuberant years). During his tenure with Tyner, he also recorded with Miles Davis on the album Dark Magus at the famed Carnegie Hall.

Upon leaving Tyner, Azar Lawrence recorded his own projects on Prestige Records, including Bridge Into The New Age (1974), Summer Solstice (1975) and People Moving (1976). After these three albums it would take over a decade before Mr. Lawrence would record another solo album (Shadow Dancing, released in 1985). Azar went on to record/write and perform with luminaries such as Freddie Hubbard, Busta Rhymes, Roberta Flack, The Headhunters and Mulatu Astatke. His sensational collaborations of the period included writing and performing on Earth Wind & Fire’s highly acclaimed platinum album, Powerlight, and on Marvin Gaye’s Grammy award winning, Hear My Dear. Azar Lawrence’s work was sampled by renowned artists/acts from the likes of Madlib, Cypress Hill…and many others.

In the early 2000s, Lawrence surged back onto the jazz scene and continues to electrify audiences with outstanding original compositions and chart hitting albums. His band, The Azar Lawrence Experience (tale) appears with as many as eight musicians who sizzle to the sounds of Azar's powerful compositions, as well as songs from the Coltrane songbook. To this day Tale dedicates itself to sharing a lifetime of Azar Lawrence’s music, art and spirituality with global audiences.

On the album Shadow Dancing (released in 1985), which we are proudly presenting you today, you can hear the musical versatility only an artist like Azar Lawrence can deliver. Next to his trademark jazz sound, this album is filled with funk, soul and boogie influences. If you’re looking for THE perfect mix of synth filled boogie & jazz-funk where the Sax takes the center stage…then this is a highly recommended gem for your record collection (and a must-have for seekers of rare grooves).

Also featured on these recordings are some serious all-star guest musicians from the likes of Oren Waters (Herbie Hancock, Curtis Mayfield), Roy Galloway (Jimmy Cliff, Gladys Knight), Fred Johnson (The Temptations, George Clinton), James Gadson (Bill Withers, Quincy Jones), Leo Nocentelli (The Meters, Maceo Parker), Marlo Henderson (Gil Scott-Heron, Ahmad Jamal), Denzil Miller (Kurtis Blow, Diana Ross) and Eddie Brown (Stevie Wonder, Dennis Coffey).

Tidal Waves Music now proudly presents the First ever vinyl reissue of this fantastic album (originally released in 1985 on Riza Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

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Azar Lawrence

Shadow Dancing Black Vinyl Edition

LP | 1985 | US | Reissue (Tidal Waves Music)

19,99 €*

Incl. VAT plus Shipping Costs

Release: 1985 / US – Reissue

Genre: Organic Grooves

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Pierre-Alain Dahan

Continental Pop Sound

LP | 1972 | Reissue (Be With)

27,99 €*

Incl. VAT plus Shipping Costs

Release: 1972 / Reissue

Genre: Organic Grooves

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A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Cam & Bert Richard

Somewhere In The Stars Cherry Vinyl Record Store Day 2024 Edition

LP | 2024 | US | Original (Delmore)

23,99 €* 31,99 € -25%

Incl. VAT plus Shipping Costs

Release: 2024 / US – Original

Genre: Organic Grooves

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Previously Unreleased Recording Limited to 1200 copies on transparent cherry vinyl Tipon jacket, Download code, Insert featuring LP sized original art by Grungie O'Muck Includes the original recording of Richard Tucker's, "Are You Leaving For The Country", later covered by Karen Dalton,and the only song cowritten by Karen & Richard, "Sleeping In The Garden" "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." Mike Jahn / New York Times (1970)

"For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." Grungie O’Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one.

Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots The Gaslight, The Bag I’m In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with PeerSouthern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced.

Some of the songs were rerecorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam ("One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we’ve ever heard.

Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They’d recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio” (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals.

Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert’s own songs were garnering attention from publishers. According to Bert, “I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss.

Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as progrock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct.”

Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?"

"The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of songslingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! Loudon Wainwright lll

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Wendell Harrison

Fly By Night Record Store Day 2023 Edition

LP | 1990 | US | Reissue (Tidal Waves Music)

22,49 €* 29,99 € -25%

Incl. VAT plus Shipping Costs

Release: 1990 / US – Reissue

Genre: Organic Grooves

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Record Store Day 2023 first time on vinyl release limited to 500 copies on 180g vinyl. Rare 1990 Detroit Jazz Album by Tribe Founder Wendell Harrison

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric Tribe record label and artist collective. Tribe used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular Tribe magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded Rebirth, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the Wenha record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).

In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the Tribe, Wenha and Rebirth labels have a large worldwide fanbase.

It is on Wehha in 1990 that Harrison released (and self-produced) the opus: ‘Fly By Night’ which we are proudly presenting you today. ‘Fly By Night’ is a monster of an album featuring an all-star line-up that includes Doug Hammond (Mingus, Lonnie Liston Smith) on drums, Kirk Lightsey (Chet Baker, Calvin Keys) on piano, Cecil McBee (John Hicks, Pharoah Sanders, Alice Coltrane) on bass, Jaribu Shahid (Sun Ra) on contrabass and Pamela Wise (Tribe) on Piano. Harrison is killing it here with this selected ensemble (guys he grew up with in Detroit in the late 50’s, when hard bop was the thing and Miles and Coltrane were the heroes of the day). This group of talented veterans are taking this classic album to unseen heights.

On ‘Fly By Night’ the gloves come off…no more jazzy-funk or poppy-jazz. Wendell picks up his tenor for one tune but the remainder of the sessions he performs on clarinet. Wendell’s mastery coaxes the sweet piquant sound of the instrument and as it re-emerges in the contemporary jazz scene. The eight handpicked tunes demonstrate the fertile new directions Wendell Harrison has been working on, combing standards with a fresh new approach.

On these amazing recordings (recorded at the Rebirth Studios in Detroit) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents ‘Fly By Night’ for the First Time on vinyl (the album was only released as a limited compact disc back in the early nineties). This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip. This vinyl edition also features the original painted front cover artwork by Virgil Grady (known for his work with Tribe records) and back photography by acclaimed Detroit scene photographer & author Barbara Barefield, whose work has appeared in many renowned publications such as The New York Times, LA Times, People magazine and countless others. Released exclusively for Record Store Day (uk/europe) 2023 and available in participating stores on April 22, 2023.

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V.A.

Fusion Global Sounds 1970-1983

CD | 2022 | EU | Original (Favorite)

15,99 €*

Incl. VAT plus Shipping Costs

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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Wendell Harrison

Fly By Night White Vinyl Edition

LP | 1990 | US | Reissue (Tidal Waves Music)

19,99 €*

Incl. VAT plus Shipping Costs

Release: 1990 / US – Reissue

Genre: Organic Grooves

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* North American White Vinyl Edition * Limited 180g White Vinyl Edition (500 copies) with obi strip * Rare 1990 Detroit Jazz Album by Tribe Founder Wendell Harrison * First Time ON Vinyl
Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others. In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric Tribe record label and artist collective. Tribe used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular Tribe magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces. In 1978 Harrison and McKinney co-founded Rebirth, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the Wenha record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo). In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the Tribe, Wenha and Rebirth labels have a large worldwide fanbase. It is on Wehha in 1990 that Harrison released (and self-produced) the opus: ‘Fly By Night’ which we are proudly presenting you today. ‘Fly By Night’ is a monster of an album featuring an all-star line-up that includes Doug Hammond (Mingus, Lonnie Liston Smith) on drums, Kirk Lightsey (Chet Baker, Calvin Keys) on piano, Cecil McBee (John Hicks, Pharoah Sanders, Alice Coltrane) on bass, Jaribu Shahid (Sun Ra) on contrabass and Pamela Wise (Tribe) on Piano. Harrison is killing it here with this selected ensemble (guys he grew up with in Detroit in the late 50’s, when hard bop was the thing and Miles and Coltrane were the heroes of the day). This group of talented veterans are taking this classic album to unseen heights. On ‘Fly By Night’ the gloves come off…no more jazzy-funk or poppy-jazz. Wendell picks up his tenor for one tune but the remainder of the sessions he performs on clarinet. Wendell’s mastery coaxes the sweet piquant sound of the instrument and as it re-emerges in the contemporary jazz scene. The eight handpicked tunes demonstrate the fertile new directions Wendell Harrison has been working on, combing standards with a fresh new approach. On these amazing recordings (recorded at the Rebirth Studios in Detroit) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released. Tidal Waves Music now proudly presents ‘Fly By Night’ for the First Time on vinyl (the album was only released as a limited compact disc back in the early nineties). This unique record comes as a deluxe 180g White North American vinyl edition (strictly limited to 500 copies) with obi strip. This vinyl edition also features the original painted front cover artwork by Virgil Grady (known for his work with Tribe records) and back photography by acclaimed Detroit scene photographer & author Barbara Barefield, whose work has appeared in many renowned publications such as The New York Times, LA Times, People magazine and countless others.

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V.A.

Fusion Global Sounds 1970-1983

LP | 2022 | EU | Original (Favorite)

24,99 €*

Incl. VAT plus Shipping Costs

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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The National Jazz Trio Of Scotland

Standards Vol. VI

LP | 2023 | EU | Original (Karaoke Kalk)

25,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / EU – Original

Genre: Organic Grooves

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A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

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Byard Lancaster

The Complete Palm Recordings 1973-1974

Box Set | 2024 | EU | Original (Souffle Continu)

169,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / EU – Original

Genre: Organic Grooves

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5lp+12"+7".

Souffle Continu records presents Byard Lancaster – The Complete Palm Recordings 1973-1974, the definitive package of Philadelphia-born jazz wizard Byard Lancaster including his 4 legendary albums released on Jef Gilson’s Palm Records in the 1970s, Us, Mother Africa, Exactement and Funny Funky Rib Crib, along with the first ever standalone edition of Love Always, a fifteen minute modal jazz beauty plus a 20 page booklet with rare photos and in-depth article about Byard Lancaster’s Parisian years by Pierre Crépon.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Us”, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender... Lancaster?) and the evergreen Steve McCall on drums.

On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music! A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking... Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims... The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!

The magnificent “Love Always” was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing. And if further proof was required of the confidence that Byard Lancaster and Jef Gilson inspire, “Love Always” provides it on this one sided release exclusive to the box set.

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Miles Davis

On The Corner

LP | 1972 | US | Reissue (Mobile Fidelity Sound Lab)

73,99 €*

Incl. VAT plus Shipping Costs

Release: 1972 / US – Reissue

Genre: Organic Grooves

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SOURCED FROM THE ORIGINAL MASTER TAPES: MOBILE FIDELITY 180G 33RPM SUPERVINYL LP
REVEALS MULTIPLE LAYERS OF RHYTHM, VISCERAL BASS, AND PIONEERING PRODUCTION TECHNIQUES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

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Lokkhi Terra

Cubangla

LP | 2020 | EU | Original (Funkiwala)

22,99 €*

Incl. VAT plus Shipping Costs

Release: 2020 / EU – Original

Genre: Organic Grooves

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Funkiwala Records presents Cubangla - the sixth album by London fusionistas LoKkhi TeRra. Following on from their hugely successful collaboration with UK afro-beat ambassador Dele Sosimi on 2018's "Cubafrobeat"(mixing afrobeat and Cuban Rumba/Timba), this album sees them return to their Bangla-Afro- Latin-Jazz-Roots. 8 tracks of 21st century London groove â€“ from Sufi Samba to Baul Blues to Bengali folk-Son to Bangla Roots Reggae to London Descargas - recorded in between tours, sessions and collaborations â€“ a true celebration of traditions taking on new forms as they travel and co-exist. In these divided times, their collective musical journey has never been so relevant.
Background Kishon Khan's Lokkhi Terra have been blending the musical traditions that surround them in London, for many years now. "Stunning Headliners... A majestic multi-cultural blend of sounds... effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London).

The band is composed of musicians who take seriously the different languages of the different genres they mix. Each in their own right play with calibre purist outfits. Members have collaborated with the likes of Hugh Masekela, Tony Allen, Ibrahim Ferrer, Johnny Clarke, Orlando Poleo, Africa Express, Jazz Jamaica, Ska Cubano, Giles Peterson's Havana Cultura, Kyle Eastwood, Bellowhead, Akram Khan to name a very few. The tracks on this album were gigged for a number of years before being recorded, with the exception of the last 2 tracks which were recorded in 2015 just before performing at Womad and Songlines Encounters. With Cubangla the band has come round full circle â€“ a journey that started a decade ago with their debut No Visa Required (2010). An urban London view on the musical world.
Songlines Review
"Acclaimed groovesters Lokkhi Terra continue their creative roll, returning to their Bangla-Afro-Latin-Jazz roots after a wildly successful colaboration with Afrobeat keyboardist Dele Sosimi. Featuring a who's who of London based players from, variously, Bangladesh, Brasil, Cuba, Spain and Nepal, Cubangla offers more sparkling genre crossing. Its eight tracks veer from fresh takes on traditional Bengali folk tunes to unlikely but sophisticated pairing including Baul blues, Sufi Samba and Cubangla funk. Keys player and main man Kishon Khan â€“ here on piano, Fender Rhodes, microKORG and (on root-reggae remake "Bhandari Revisited") wah-wah harmonium â€“ has written and/or arranged a clutch of tunes that respect tradition while forging new pathways. "Badaam"jumps off the Cuban standard "El Manisero" into a suhg conversatio between Cuban sonero Javier Camilo and Bangladeshi songbirds Sohini Alam and Aanon Siddiqua.
The albums title-track is a glorious descarga jam riffing on themes Cuban and Bengali, stoked by piano, percussion, trumpet and Jalal Ahmed's snaking Bansuri (flute). An upbeat variation on a legendary Sufi song, "Lal Mere" finds Alam and Siddiqua in powerful form and Khan deploying a fiery Rhodes solo. Originally performed at a Songlines Encounters festival, "Kon Kole Revisited" features the rough-hewn voice of the late Baul musician Rob Fakir, his lyrics celebrating Bengali philosopher Lalon and his attitude of religious tolerance. Deep, laced with joy and a masterly lightness of touch, Cubangla rewards repeated listening"
John Armstrong review
Despite Latin and Afro-Cuban music's longstanding popularity in the UK, there have been relatively few UK based artists who have pushed the limits of convention, adding novel elements whilst remaining (more or less) 'en clave' . Alex Wilson is one, and another is the formidably talented pianist, keyboardist, arranger and producer Kishon Khan with his band Lokkhi Terra. Kishon can play straight afrobeat, timba and Afro-Cuban descarga with the best, but his musical curiosity leads him in other directions, too- most specifically, to Bangladeshi music. To these ears, Lokkhi Terra's third (fourth?) outing, Cubangla, is their crowning glory to date. Lazy reviewers will call this a 'fusion' album: i don't know about you, but I find the term 'fusion' as meaningless as the term 'world music': all modern music is a fusion of something or other. This is Afro-Cubano-Bangladeshi music, please don't call it 'fusion'.
Khan's real arranging achievements here can be heard immediately in one of the shortest tracks, 'Bhromor' - described as a 'son cubangla'. The melancholy traditional Bangla song is subjected to the strict conventions of the Eastern Cuban son format, but nevertheless finds space and time for the strong improvisational elements in Bangla singing, a space that the singer Aneira Khan fills to perfection. The rest of the album is equally arresting, with a couple of instrumental descargas and more of that beautiful Bangla melody and vocal impro rising above the Afro-Cuban bedrock. Almost thirty musicians and singers...studios in London, Dhaka, Brooklyn..this must have been a helluva logistical feat (well done Kishon!), as well as being one of the outstanding albums of the year so far for me."
Jazzwise Review
London-based collective Lokkhi Terra have been blending sounds from around the globe since 2010. They describe their music as Bangla-Afro-Latin-Jazz, but even that doesn't do justice to the range of traditions that find their way onto Cubangla, which weaves in everything from funk grooves and Afrobeat hornlines to bluesy guitar and the music of the Bauls, a group of musician-mystics from Bengal. Lots of bands mix African and Latin sounds with jazz and it's these Indian influences that really set Lokkhi Terra apart. Among the highlights is 'Bhromor', a traditional Bengali song about the love between Radha and Krishna that drifts over lilting Cuban guitar, fluttering tabla and delicate flutes. 'Lal Mere' sets a traditional Sufi song to breezy samba percussion and 'Badaam' has an easy-going reggae feel with both Spanish and Bengali vocals. Remarkably, the blend of styles always sounds natural, never forced or cluttered, which is testament to the ingenuity of the arrangements and the standard of the playing. Flautist Finn Peters and trumpeter Graeme Flowers are on particularly good form.
John Warr Review (AfroBase)
"Tracks like Como with its Cachao phrasing, hats off to Graeme Flowers and Justin Thurgur for some stunning solos, the Spanish/Bangla tinges, not forgetting your inspiring piano work and arrangements. Love the percussion throughout and especially on Cubangla, the beautiful Banzuri flute solos from Jalal Ahmed, the joyous vocals on Kalare, and not forgetting the very radio friendly Bandari although I really want to play Como!
This album is a true high point in the work of Lokkhi Terra and its worldly mix of influences. I hope I get to see the band play this live whenever that is."

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Tom Misch & Yussef Dayes

What Kinda Music

2LP | 2020 | EU | Original (Blue Note)

16,99 €*

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Release: 2020 / EU – Original

Genre: Hip Hop, Organic Grooves

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We are excited to present Tom Misch and Yussef Dayes’ “What Kinda Music” – an astonishing collaboration between two artists of very different disciplines, and one of the most unique and seamlessly original projects of its ilk to date.

Moving fluidly through sleek electronica, avant-garde jazz, vintage hip hop and so much more, Misch and Dayes take you on a journey that is by turns surprising and spontaneous, heady and head spinning, and nothing less than compelling – a singular vision which fuses the DNA of both musicians with spectacular results, as can be seen in the title track, which comes backed by a gorgeously atmospheric video by XX.

Even though the fundamental bones of this project came together very quickly, its actual provenance stretches back much, much farther back, with the pair not only growing up in the same area of South East London, but Misch actually seeing Dayes play on drums in the school talent show for the first time when he was roughly 8 or 9. They both kept tabs on each other – Misch becoming a fan of Dayes’ act Yussef Kamaal, Dayes clocking his videos in 2014 – but it was only when they met at a launch party for Misch’s debut LP “Geography” in 2018 that the proverbial creative sparks began to fly. “As a musician you’re always looking for contemporaries who can push you and challenge you and make you better”, says Dayes. “I instantly felt that with Tom – he was such a gifted musician, and so prolific”. That summer they decided to go into the studio together, jam a little, and see what happens, with no other expectation placed upon it.

As it turns out, the music came fast and furiously. Two initial tracks were suddenly followed by a handful of others, and the pair found themselves contemplating what to do next. “Pretty soon, we knew that something was gelling”, Dayes says. “It didn’t feel like a one-off collaboration, it felt like a body of work”. What made the pair click, according to Misch and Dayes, were the exact same factors that meant it shouldn’t, by all rights, work. Misch says, “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible”. And certainly, in “What Kinda Music” you can sense the DNA of both musicians, but fusing so effortlessly and beautifully that it creates something else entirely, the appropriately named “Lift Off” sending goosebumps with its jazz flecked crescendo, and “Night Rider” hynotising with its deeply mesmeric grooves. “I have a love for harmony and chords”, Misch adds. “Working with someone like Yussef, who has such a gifted sense of rhythm allowed a perfect balance”.

Throughout the record, there is an utterly joyful feel of two musicians at the top of their game sparking off one another, picking up ideas and running with them – zigging where the other zags, ebbing where the other flows, with Misch producing the majority of the record and both having a hand in the overall sound and feel of the record.

“Working with Yussef has actually changed the way I work as a musician”, Misch muses. “He’s pushed me and unlocked a more experimental part of me that I hadn’t really allowed myself to explore before. I think we really did impact each other in a fundamental way”. Dayes is similarly effusive in his praise for Misch. “A musician like him, who’s at the top of his game, he doesn’t need to do this”, he raves. “He can just keep doing the same thing and why not? He’s killing it. The fact that he’s so humble, that he’s so curious about everything and open to collaboration, speaks a lot to him as an artist, because it’s not easy finding musicians who want to collaborate. Something always gets in the way, whether it’s ego or their team or whatever. But with Tom it felt like the intention was purely creative, and that’s what made it exciting”. In fact, Dayes says that the intentions of the record go even deeper than just music. “Both our parents who’d never met each other before, are now best friends as a result of this, they now see each other more than we do! I’d like to think, in some small way, that this album has a similar impact for people too – everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realise it doesn’t have to be that way”.

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V.A.

Lefto Presents Jazz Cats Volume 3

2LP | 2024 | EU | Original (Sdban Ultra)

29,99 €*

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Release: 2024 / EU – Original

Genre: Organic Grooves

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Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.

'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with Honey (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.

2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, Stuff. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like Echt!, Stellar Legions and Tukan. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3: "Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

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V.A.

Lefto Presents Jazz Cats Volume 3 Transparent Violet Vinyl Edition

2LP | 2024 | EU | Original (Sdban Ultra)

29,69 €* 32,99 € -10%

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Release: 2024 / EU – Original

Genre: Organic Grooves

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Mo Kolours

Original Flow

2LP | 2024 | EU | Original (We Release Jazz)

36,09 €* 37,99 € -5%

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Release: 2024 / EU – Original

Genre: Organic Grooves

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We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

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Tullio De Piscopo

Suonando La Batteria Moderna

LP | 2023 | EU | Reissue (Dialogo)

26,99 €*

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Release: 2023 / EU – Reissue

Genre: Organic Grooves

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A Brief History OF THE Drums Jazz Drums as we know them today are a complex group of percussive instruments that reveal the inventive genius of the first jazz-band players of New Orleans, on Mississippi show-boats and later, in Chicago. In their actual form (which is substantially the same as that used in the first New Orleans groups ) they are none other than the como ination into one single instrument of all the percussive units used by the Southern blacks. Let us examine the drums in their single parts: the bass drum is a percussion instrument without definite pitch, normally beaten by a stick that has a large, felt-covered knob on one end, while the other end is attached to a pedal played by the right foot. It is the same instrument used in parades with brass bands, when it is worn around the neck and can also be played with regular drumsticks if a drum roll is required. Also a descendant of the traditional New Orleans brass bands are the Charlestons, two superimposed metal plates which are also played by pedal. Drumsticks or brushes are used to play one or two cymbals, large, slightly cupped disks of brass which when struck together loudly, also produce a crashing, dramatic effect. Drumsticks are also used to play the snare drum, of military origin, and the tom tom, of African descent, which can also be played by beating the drum-head with the fingers and the heel of the hand to accompany dancing. Other supplementary instruments such as the castanets, cow-bells, etc., are also played with drumsticks. In early jazz formations and in all New Orleans jazz, drums were used to rhythmically sustain the group, in other words, to furnish the beat, particularly with the bass drum playing the strong beats; the Charlestons would follow on the weak beats and the other parts would more or less ‘fill in’ depending on the player’s ability, by playing syncopation and off-beats. Rarely were the drums used as a solo instrument in New Orleans or traditional jazz bands; at the most, the drums would perform during a break, that is, a brief solo that filled in a pause left by the other melodic instruments between two stanzas or refrains. In jazz history the most important representatives of this ‘archaic’ jazz style are considered to be Warren ‘Baby’ Dodds (brother of the famous clarinet player Johnny Dodds ) and Zutty Singleton; both can be heard on the historical recordings of the Hot Five and the Hot Seven where they played under Louis Armstrong. During the swing era the drums were somewhat modified and perfected (it was during the ’30s that they assumed their standard and present form), thus requiring players to develop a more refined, sophisticated playing technique. In fact, during the swing era the small groups that had made up the backbone of New Orleans and Chicago jazz moved momentarily into the background and attention was focused on the first big, commercial dance bands, then to small, experimental groups that consisted of trios and quartets. But while the New Orleans drummer had been accustomed to playing with musicians he knew personally and with them performed music with which he was completely familiar and could therefore easily provide rhythmic support to, during the ’30s the drummer found himself in the new situation of having to play with a large number of musicians who played written music that had been selected for commercial reasons and part of complicated, orchestral arrangements. In addition, because of continuous changes in orchestral personnel, he seldom had time to familiarize himself with his fellow musicians; he was forced, by necessity, to adapt himself to the needs of the group at a short time notice and it was not unusual for the band leader to expect an exceptionally long break during which the drummer had to demonstrate his particular virtuosity. Naturally the technical superiority of this generation of musicians found supremacy in small groups in which the drums sustained first place together with the melodic instruments. An example of two such outstanding drummers of the swing era were Chick Webb and Gene Krupa. Around and immediately following World War II there took place, gradually and not as suddenly as one is led to believe, a so-called ‘revolution’ that initiated what was the ‘modern jazz’ trend, to which the preceding jazz style was superimposed and defined as ‘traditional’ jazz. While it would be impossible to analyze here all the melodic, harmonic, rhythmic and timbric innovations created by modern jazz musicians, two considerations can be made about the drums. The first is that in modern jazz there is no longer any distinction between ‘melodic’ and ‘accompanying’ instruments, thus leveling all instruments of the group to equal importance, all with solo possibilities (just think of what a classic accompanying instrument like the guitar becomes, in the hands of Charlie Christian!). The second is that while in traditional jazz the beat, i.e., the basic rhythmic scansion of a piece, offered the possibility of rhythmic balance, in swing, rhythm became explicitly an element of sound, while in modern jazz the beat is implicit and despite its prominence throughout an entire piece, whether solo or group playing, no instrument has the specific job of sustaining the others. It is clear therefore, that when the drums have been given equal value to the other instruments, they are freed from the obligation they once had to sustain rhythmically an orchestra or group and in modern jazz find enormous expressive possibilities. The musician most responsible in giving the drums their prominence in this era was Kenny Clarke, and among his many followers two of completely different styles but both with supreme technical skills, were Shelley Manne and Max Roach.

THE Drums AND POP Music The introduction of drums in European pop music occurred at the same time as the transformation of dance bands and was conditioned by the popularity of jazz. In the first dance orchestras that offered American dance music in Europe (the fox trot, one-step, and later the Charleston), the drummer often gave his name to the entire group, which was called a ‘jazz band’. The pop music drummer, in general, was not just a pale image of his jazz colleagues. If he performed any virtuoso passages they were certainly not the result of an expressive need, but rather, well-calculated effects created by an arranger for purely commercial reasons. The drums in pop music were also liberated from their secondary role, however, in another change similar to that brought on by the modern jazz revolution: it was with rock ‘n’ roll and the experiments of the new American groups that followed the Beatles and the Rolling Stones that re-evaluated the possibilities of the drums in new forms of instrumental ‘sounds’ and added to the wealth of technical capacity and the actual physical make-up of the instrument, adding other percussive instruments from both Afro-Cuban origin (bongos) and classical music (tympani), as well as oriental instruments like the gong, Chinese bells, Korean blocks, etc. For those who are fascinated by the virtuosity of some jazz or pop musician and have undertaken the study of the drums with the intention of imitating them, it is well to remember that it is no longer possible to do so with just a good sense of rhythm, musical sensitivity and the physical capacity to play. The modern drummer must also have a thorough theoretical background and a good teacher to guide him. Sightreading is of course indispensable particularly for playing the drums and a music school diploma certainly helps. This record, therefore, does not pretend to offer more than a series of modern rhythms that anyone with a good musical background can learn from and have fun with. The rest is up to you!

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Noah Howard

Space Dimension

LP | 1970 | EU | Reissue (Amercia)

41,99 €*

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Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Noah Howard was born in 1943 in New Orleans and, like many of his contemporaries, first played music in church as a child. In his 2010 book, 'Music in My Soul', Howard reflected upon his childhood in New Orleans and the influence the city had on him: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.”
He first learned to play the trumpet before moving on to alto, tenor and soprano saxophone. And his musical journey initially took him to Los Angeles where he worked with Dewey Johnson and then later moved to New York to join the Sun Ra Arkestra. Like most forward thinking saxophonists of the time, Howard was influenced by the evolving expressionism of John Coltrane and Albert Ayler and it wasn't long before he became a key member of the mid-60s free jazz movement, a stepping stone to his elevation into one of the world’s most notable saxophonists.
Howard's debut LP as leader, 'Noah Howard Quartet' was recorded in 1965, and the follow up, 'Noah Howard at Judson Hall', in 1966 but not issued until 1968, both for the groundbreaking ESP Records label (incidentally, both albums featured British trumpeter Ric Colbeck). However, Howard's view of ESP was not positive, calling it “ a monster of deception... I am aware of ESP's adventures...they continue to make money off the artists and they refuse to pay any royalties.”

Like many of the black jazz musicians of the 60s, Howard left the USA and settled in Europe (making the permanent move to Paris in 1972). In an interview in 2005, Howard explained his move: “When I first came to Europe it was 1969 and I came to play in a big festival and after that we had a lot of concerts, recalls Howard. "Then we left and we came back to the States, I was based in New York at that time. About six months later, we had some more concerts, we came back and this went on for years, going back and forth and back and forth and back and forth... I decided that instead of going back and forth all the time, it was more advantageous for me to stay over here and live and work.”
It was in Paris that Howard took part in sessions for the Frank Wright albums 'One For John', cut for the leading French free jazz label BYG Actuel and another Wight session, 'Uhuru Na Umoja', for the America label. Another album on America that featured Howard was Archie Shepp's 'Black Gipsy'. This session also featured , among others, Sunny Murray on drums and Clifford Thornton on trumpet.
America Records was to be home to Howard's third album, 'Space Dimension'. On this album, Frank Wright was reunited with Howard once more, and Wright also composed one track, 'Church Number Nine' (Wright would also do his own version as the title track on his 1970 album, initially only released in Japan. That album would also feature Howard.) 'Space Dimension' also features bop drummer Art Taylor on three tracks, with Muhammed Ali (brother of Rashid), on one. They're joined by alongside pianist Bobby Few, longtime member of Frank Wright's group and an alumnus of Archie Shepp's band.
'Space Dimension' has never seen an official reissue since its original release in 1970 and remains, among a few aficionados, one of the most in demand - and little known - albums in Howard's discography. The blend of free improvisation with a tough rhythmic foundation make for an edifying listening experience. The spectral disjointed afro-blues of the title track, with Howard's soaring, searing horn, introduces an exceptional album of weight and significance, a real statement piece. 'Viva Black' starts as a lush groove, rich with texture and tone. Bobby Few's piano is sparse and disciplined, allowing space for the interweaving angles of the horns and drums to cross and jostle and build in intensity, with Muhammad Ali's drum solo acting as a cathartic release.
'Song for Poets' is blistering in its attack, an intense assault from the whole group – urgent and imperative, a call to action that seemed to resonate with the tumult of the late 60s and early 70s and, perhaps, still resonates now. The album closes with the extended piece 'Blues for Thelma'. It starts like a sort of angular, shattered New Orleans first line march band; Howard visceral horn and Few's piano joust and punch like fighters in a ring; Ali's drums hammer a solid undertow of power and energy, relentless in its fire.
All in all, 'Space Dimension' announced Howard's arrival into a new decade, a decade that was to see not just jazz but music and wider society undergo profound change.
Howard's third record was the widely acclaimed 'Black Ark', which featured Arthur Doyle on his first recording. 'Black Ark' soon became a landmark free jazz recording and elevated Howard into the first division of globally renowned free jazz players.

He spent much of the next decade or so exploring new ideas and places to work, including Europe and Africa, moving to Nairobi in 1982 and finally Brussels, where he had a studio and ran a jazz club.
In his autobiography, Howard described going to Africa: “It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on 'Middle Passage'”
He recorded steadily through the 1970s and 1980s, mostly with his own label AltSax and continued to expand his repertoire, exploring a range of sounds from ethno-funk to world music in his latter decade. He returned to his free jazz roots in the 90s, mixing the myriad of influences and styles he had encountered throughout his journey.
Noah Howard recorded 35 albums, and their styles reflect the ceaseless musical searcher he was: blues, free jazz, world music. He covered it all.
Noah Howard died on September 3rd, 2010 while on holiday in the South of France. He died a day before finishing the first draft of his autobiography.

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Mo Kolours

Original Flow

CD | 2024 | EU | Original (We Release Jazz)

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Release: 2024 / EU – Original

Genre: Organic Grooves

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V.A.

Generacja Jazz Black Vinyl Edition

LP | 2023 | UK | Original (U Know Me)

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Release: 2023 / UK – Original

Genre: Organic Grooves

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There are two versions of the vinyl - classic black and multicolor limited Indie Shop edition.
Both have special insert inside with the bands bio and photos.

Generacja Jazz is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja Jazz LP is also a start of the new imprint - U Jazz ME, which will be focused on jazz from Poland.
And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.
Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).
The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD [Experience Design]" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JazziNSPIRACJE (JazziNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

7. USO 9001 is a trio, whose name is the acronym of Unidentified Sonoristic Object, a play on words poking fun at the European quality management standard ISO 9001.

USO 9001 is off-jazz

USO 9001 is hip-hop and fat beats played on drums

USO 9001 is guitar songs

USO 9001 is punk rock

USO 9001 played concerts in Poland as well as in Chechenia, Austria, Hungary and Croatia. After their performance at Next Fest in Poland, they were celebrated as Gazeta Wyborcza's* Revelation; They were also hailed as having the best début performance in the history of Jazz Jantar Festival.

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