Search "DISCOM" 185 Items

FOR THE FIRST TIME EVER, THE WHOLE* PIERO UMILIANI’S PRODUCTION ON HIS LIUTO RECORD LABEL IS COLLECTED IN A UNIQUE 19-CD BOXSET!

The boxset includes a set of 18 albums for a total of 19 CD’s (the last one in the series is a double CD) enclosed in faithful reproductions of the original sleeves, plus a 72-page booklet with rare photos, two essays about Umiliani and his music production written by Maurizio Corbella and Niccolò Galliano, and a detailed discography and full tracklist section. This release has been fully approved by the Umiliani family.
* * *
Without Umiliani’s contribution, Italian jazz, film music and library music would lack some of the key identifying features we associate them with today, thanks to his ability to carve out a distinctive sound identity from his personal craft, the studio he built and the trust he gained from his collaborators. This identity for many simply encapsulates the cipher of an unrepeated age of Italian popular music.
At the Sound Work Shop studio (opened in 1968) Umiliani conceived the majority of his projects and hosted the recording sessions for numerous movie soundtracks, pop hits and library music albums by the most remarkable musicians in Rome — including himself. In this exciting environment, he had the opportunity to experiment with many different styles, from funk to psychedelic rock, from disco to avant-garde, from easy-listening to electronic music, following the ever-changing needs of the soundtrack and library music industries. He therefore mastered an extreme variety of genres, moods and atmospheres, often mixing up their peculiar features to achieve unusual combinations in albums conceived both for production purposes and for home listening.
Umiliani’s ability to reinvent the concept of musicianship in the fast-moving society of his time made him a modern musician in the most complete sense of the term, by putting himself in charge of every facet of his work, from the conception to the production, the recording, the publishing and even the packaging of his own music.
In less than two decades, Umiliani released almost 80 records on the three labels he established between the mid-1960s and the early 1970s: Omicron, Liuto, and Sound Work Shop, besides all the music he was simultaneously composing for movie productions, licensed and published by Italian major companies.
This box set allows us to fully appreciate this little-known side of Piero Umiliani in an unprecedented way: his ability to seamlessly intertwine his musical creativity with his vision as a producer and publisher emerges clearly from this series as a unique feature of this composer. This corpus altogether constitutes a remarkable contribution to the so-called Italian sound of the 1970s, covering areas such as library music and film music and a plethora of genres such as jazz, funk, psychedelia, prog, easy listening, electronic music and much more!

For the first time ever, the whole Piero Umiliani’s production on his Sound Work Shop Record label is collected in a unique 17-Cd Boxset! The boxset includes a set of 17 CD’s enclosed in faithful reproductions of the original sleeves, plus a 72-page booklet with rare photos, two essays about Umiliani and his music production written by Maurizio Corbella and Niccolò Galliano, and a detailed discography and full tracklist section. This release has been fully approved by the Umiliani family. Without Umiliani’s contribution, Italian jazz, film music and library music would lack some of the key identifying features we associate them with today, thanks to his ability to carve out a distinctive sound identity from his personal craft, the studio he built and the trust he gained from his collaborators. This identity for many simply encapsulates the cipher of an unrepeated age of Italian popular music. At the Sound Work Shop studio (opened in 1968) Umiliani conceived the majority of his projects and hosted the recording sessions for numerous movie soundtracks, pop hits and library music albums by the most remarkable musicians in Rome — including himself. In this exciting environment, he had the opportunity to experiment with many different styles, from funk to psychedelic rock, from disco to avant-garde, from easy-listening to electronic music, following the ever-changing needs of the soundtrack and library music industries. He therefore mastered an extreme variety of genres, moods and atmospheres, often mixing up their peculiar features to achieve unusual combinations in albums conceived both for production purposes and for home listening. Umiliani’s ability to reinvent the concept of musicianship in the fast-moving society of his time made him a modern musician in the most complete sense of the term, by putting himself in charge of every facet of his work, from the conception to the production, the recording, the publishing and even the packaging of his own music. In less than two decades, Umiliani released almost 80 records on the three labels he established between the mid-1960s and the early 1970s: Omicron, Liuto, and Sound Work Shop, besides all the music he was simultaneously composing for movie productions, licensed and published by Italian major companies. This box set allows us to fully appreciate this little-known side of Piero Umiliani in an unprecedented way: his ability to seamlessly intertwine his musical creativity with his vision as a producer and publisher emerges clearly from this series as a unique feature of this composer. This corpus altogether constitutes a remarkable contribution to the so-called Italian sound of the 1970s, covering areas such as library music and film music and a plethora of genres such as jazz, funk, psychedelia, prog, easy listening, electronic music and much more!

After the success of the first Alessandroni Proibito box set, which sold out in pre-sale before it even hit the stores, Four Flies is proudly back with Volume 2 of the compilation. This new release too features five exclusive 7-inches, housing a total of 10 seriously rare tunes. All previously unreleased in physical format, the tracks have been carefully selected from the soundtracks of five obscure Italian films from the late ‘70s – sexy flicks that flirted with the line between erotic and explicit, and which are now largely forgotten, having been out of circulation for decades.

As was the case with the previous volume of the compilation, Alessandroni's music rises above the films' flimsy plots, improvised actors, and amateurish production, exuding his distinctive touch thanks to the (typically Italian) artisanal approach he took to his musical craft. The composer let his creativity run free, playing with his instruments at home as if he were in his own little amusement park; trying to have fun and produce something entertaining and captivating with just the few means at his disposal.

This creative freedom turned even budget limitations into musical strength. Armed with just a 4-track Teac, Alessandroni recorded the rhythmic elements first and then added layers of melodic variations on top, at times relying on wordless vocals provided by skilled family members (Alessandroni himself in “Racing”, or his wife Giulia De Mutiis in “Ticket”), and at others on affordable or readily available instruments from the Italian folk tradition, such as the mandolin, the accordion, the melodica, or the diatonic harmonica. And of course, let’s not forget his unmistakable guitar! Whether classical or electric, it's the heartbeat of every track in this compilation, from the seductive suspense of “Luci Rosa” (i.e., ‘pink lights’) to the groovy disco-funk of “Snake Disco (Reprise)”, all the way to the brilliant proto-wave of “Climax.” To top it off, a splash of DIY electronica – think minimalist drum machines and quirky synths – injects a modern feel into what we now call Italian erotic sound.

This time as well, the box set comes with artwork by Eric Adrian Lee, along with a matching 30x70cm folded poster inspired by the insert-size posters that used to deck out movie theaters.

Alessandroni Proibito Vol. 2 (Music from Red Light Films 1976-1980) is being released in a limited edition of just 400 copies and will never be reissued. So, be quick – it's first come, first served!

Brian Auger"s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger"s unique experimentation culminated in rhythm-infused jazz funk that united Black and white "70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group"s diverse musical influences and progression, from the 1970 self titled debut"s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975.

Mdfc aka Mobile Disco Funk Connection is a collaboration between Carl Cox and Eric Powell.

As young music lovers, it all began a long time ago with Carl and Eric in the UK playing bloc-party style pop-ups, digging into their parents' influences in music. With its roots in Funk, Soul, Hip Hop, Jazz, Disco and Reggae, Carl and Eric’s Mobile Disco showcases over 30 years of music with Carl and Eric digging to play some of the tracks that have influenced them over the years.

Fast forward 20 years and Carl and Eric have now taken their Mobile Disco concept to: Glastonbury, Brisbane, Sydney, Melbourne, Adelaide, Perth, Queenstown, New York and Bali.

While we couldn’t really travel (say no more) Carl and Eric decided to revisit some of their favourite jazz funk tracks, remix Funkadelic, GQ and Cooking on Three Burners, Buffalo Brothers and some new recordings, using either the original 24 track tape or having parts replayed. Carl and Eric have named this concept Mdfc (Mobile Disco Funk Connection).

Mdfc is only available as a triple vinyl album release.

A highly coveted record! A reissue of instructional records by talented studio musicians!

Super Percussion Vol.1 is the only solo album released by Tatsuo Hayashi, who played drums for Tin Pan Alley and Caramel Mama.

This album, which has historically been famous as a drum break album by Japanese DJs, has an A-side that extracts only the rhythm section from drums to percussion, and a B-side that features a fusion instrumental mix of performances by Masaki Matsubara and Tsuyoshi Kon.

The tight disco track, 'sucha Roca' and the light mellow fusion funk track, 'hi-g', as well as the iconic beat collection on the record's A side, are recommended for track makers everywhere.

* 180gram HQ pressing * Remastered from the 1st generation Oasis Records master tape * Lacquer cut by Kevin Gray at Cohearent Audio * First time on vinyl reissue * Pressed on Blue Bubble Vinyl / This is the 3rd solo album by Yon Seok-won, whose career as composer/arranger spans 5 decades, released in 1991. The Mermaid is a monumental work representing Yon’s first output as a pioneer of a unique jazz-based Korean new age/fusion sound. The album has recently become much sought-after among listeners and collectors drawn to the ambient elements and Balearic vibes that permeate the album. At long last, after nearly 30 years, this hidden masterpiece from a visionary composer who was way ahead of his time has been reissued! Yon Seok-won was born in 1949 in Hwanghae Province, in what is now part of North Korea. After his family fled to the South during the Korean War, he grew up in Incheon. In 1969, he met Incheon-born musician Kim Myoung-kil, with whom he formed the soul band ‘Devils’. Playing mainly on the U.S. 8th Army entertainment circuit, the group also dominated music competitions and the club scene. Yon left the band when he was drafted into military service soon after the release of the Devils debut album. As soon as his service was complete, Yon formed and led the Outsiders, a rock band that mixed soul and Latin influences. The outfit’s only album was released in 1975. Yon then went on to join Shin Byoung-ha’s jazz-rock / disco unit, the Four Seasons, while also working on solo material and furthering his career as an arranger. Having built a working relationship with SRB Records at the time, he handled production duties as composer / arranger for various acts such as the folk singer Jung Tae-choon as well as soul-funk singers like Yoon Si-nae and Moon Ji-young. Ever passionate about exploring new music, in 1982 he left behind a promising career as composer / arranger in the domestic gayo scene and went to America to discover a greater world of music. He spent the next 5 years studying jazz and playing local gigs in Hawaii. Upon his return to Korea in 1986, Yon’s broadened musical scope organically found expression on numerous remarkable gayo productions, signaling the start of a new heyday for him. This is plain to see in his work on the albums by various top acts of the time, including In Soon-ee, Lee Eun-ha, Kim Wan-sun, and Kim Beom-ryong. In particular, he demonstrated an unparalleled knack for arranging New Wave-influenced disco tunes as well as ballads that incorporated elements of chamber music. Additionally, since the early 1990s to the early 2000s, Yon has been prolific as a score composer for numerous films and drama series. In 1990, Yon established a musicianship crew of his own, ‘Creation’, which became a steadfast vehicle for him to give form to his musical visions. His jazz-based fusion / new age albums, which threw a fresh new light on Yon and his work, were released during this era. Building on his close working relationship with Oasis Records at the time, in 1991 Yon released his first solo material in 10 years – ‘Mermaid’, while also working as head producer of Shin Hyo-bum’s idiosyncratic jazz-oriented gayo album ‘Jazz: The Outing (1991). Also prolific as an arranger, his career peaked when he participated in hit songs by Lee Moon-sae and Kim Gwang-seok. Ever since the 2000s, Yon has focused mainly on composing scores for drama series. Yon’s extraordinary yet woefully under-documented career saw him pursue a unique musical journey after his beginnings in a soul / rock band in the 70s, after which he infused jazz elements into gayo and realized his greater musical vision. His touch can be found everywhere from 70’s gems to the various gayo hits and score albums of the late 91’s. As such, Yon Seok-won is a mysterious musician whose works are familiar to any gayo lover / collector even while little is known about the man himself. It’s high time for a proper appreciation of Yon and his work.

Akira Mizumoto is a DJ, editor, and writer. His full album "A.M.", originally released in 2002, will finally be released as an LP on Record Day 2023!! Guest vocalists include Tomomi Sano, Yasuyuki Horigome (ex:Kirinji), and Rie Aoki (flex life). In addition to the remastering of all songs, the artwork will be updated to LP-only version by Keiji Ito, who also worked on the artwork of the original CD. The sound of bossa, jazz, and electronics intersecting with a beat based on 4x4 should be reevaluated today. The music is a collection of gems that color the floor, and we hope that you will experience the reincarnation of club music that transcends the ages and continues to spin.

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. "Dreams Of A Love Supreme" is a monster album that features an all-star line-up that includes Phil Ranelin on trombone, Harold McKinney on Keyboards and Roy Brooks on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals … this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation … a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.

Originally released in 1981, the second release from Wendell Harrison’s Wenha label (following Dreams of A Love Supreme), Organic Dream is one of the finest records to come out of Detroit’s DIY jazz scene in the 80’s. Album opener “Ginseng Love” is as smooth as butter, with warm analog synth strings and a gentle groove, over which Harrison plays saxophone, clarinet, and flute. His playing is as energetic as ever, with his free jazz tendencies tempered by mellow R&B influenced phrases. This is followed by “Winter”, a ballad that sees Harrison on clarinet playing with acoustic backing, showing off a softer side of Harrison’s playing that rarely gets the attention it deserves. However, things quickly pick up with “Love Juice”, a disco-boogie number perfect for any dance party. Staccato guitar rhythms, and a bouncing bassline combine to create a groove so perfect you’ll be nodding your head even just thinking about it. Harrison’s playing is louder and freer, with lines clearly inspired by the great R&B and pop saxophonists of the 80’s. “The Wok”, highly regarded by many as one of Harrison’s best compositions, is a mellow funk track, and despite its brevity, contains some of the deepest grooves in Harrison’s 80’s discography. As the name would suggest, oriental sounds are incorporated with funk grooves to create a sound that defies immediate characterization, but is fantastic nonetheless. With modern remastering and an obi-strip this album has never looked or sounded this good! Don’t miss Wendell Harrison’s Organic Dream, from P-vine Records!

merch community
S​ü​ddeutschland & Der Untergang des Hauses H.
by Familie Hesselbach

Share / Embed Wishlist
supported by
unrest1905 thumbnail Stefan aka Pink Noise thumbnail fehlamplatz thumbnail KottonKrown thumbnail pissedartist thumbnail flurkflurk thumbnail profil thumbnail
Süddeutschland (Lautt Sampler, 1983) 00:00 / 04:09
Digital Album
Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Buy Digital Album €8 EUR or more
Send as Gift

Limited Edition 12" Red Vinyl
Record/Vinyl + Digital Album
package image
Includes unlimited streaming of Süddeutschland & Der Untergang des Hauses H. via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 10 days
edition of 300
Buy Record/Vinyl €26 EUR or more
Send as Gift
1.
Süddeutschland 05:12
2.
Das Bild 04:46
3.
Rimini 03:34
4.
Zur Kur 04:10
5.
Süddeutschland (Lautt Sampler, 1983) 04:09
6.
Siechtum (Der Untergang des Hauses H. Tape, 1985) 02:41
7.
Fred (Der Untergang des Hauses H. Tape, 1985) 03:57
8.
Paul (Der Untergang des Hauses H. Tape, 1985) 03:14
9.
Susi (Der Untergang des Hauses H. Tape, 1985) 03:26
10.
Barbara (Der Untergang des Hauses H. Tape, 1985) 03:55
11.
Baden (Der Untergang des Hauses H. Tape, 1985) 02:31
about
TEXT ENGLISH
"40 years after six students from the prestigious university of Tübingen were latecomers to the German new wave (...), it is once again the turn for Familie Hesselbach, who have always been called "The German Talking Heads", something we could agree with, if we add to their sound the rhythm schemes of A Certain Ratio, the groovy bass of Bush Tetras, the skronky disco-esque of James White, and turns Byrne's voice to a more spastic and cons ice one. Berlin´s play loud! label reissued in vinyl this early 80s German new wave gem, and if you think of all the bands we've named, you know this is going to blow your mind!" (Tremendo Garage about the first LP "1982").

After re-releasing "1982" (first LP) and the double LP "Froh zu sein & 8-EP-Sampler", play loud! now completes the Familie Hesselbach catalog (1980-1985) with the third vinyl LP "Sueddeutschland & Der Untergang des Hauses H." Enjoy!

Easy Tempo has achieved, through time, the status of legendary label. The seminal first volume of the fortunate series was released in early 1996 and it was responsible for the now huge worldwide Italian Cinematic legacy. The names of Piero Umiliani, Piero Piccioni or Gianni Ferrio, where totally unknown by the most. All the way through the 90’s Easy Tempo has released 10 Volumes (no fillers only killers) and complete soundtracks, some never previously released and most edited directly from the film master tapes. Today, Easy Tempo strikes back with a stunning long awaited 11th Volume (the round trip) compiled by Nicola Conte and with the re issue of an obscure disco funk album called Genius which is a dance floor earthquake. Easy Tempo is back with his irresistible cinematic groove which comes across stronger than ever.

2023 edition with new artwork and sleeve. Come with insert/liner notes.

"Welcome to the America Dream Reserve, home to husband & wife duos, pub legends, one-man-bands, preachers’ sons, and country-lounge entertainers..."

About: America Dream Reserve is a home for kindred souls. An hour-long journey into the world of lo-fi drumcomputer folk, disco-pop-lounge, haunting ballads, obscure vanity pressings, and synthesized string ensembles. A collaborative compilation between Charles Bals, creator of the inimitable Club Meduse, and Smiling C.

Compiled by: Charles Bals & Henry Jones.

Genki Desu Ka (How Have You Been)

Lily’s early life runs parallel to an untold story of post-war Japan, that of the marginalised hafu - children of half Japanese / half foreign parents. Likely to be a target, a vessel for the bitterness, from the humiliation of the American Occupation, to the buried guilt of Japan’s own atrocities, enacted on their Asian neighbours. Her troubled formative years - an absent father, and losing her mother in her teens - possibly contributed to the development of the bluesy edge of her vocal style, or maybe it was the smoke from the jazz bar her mother ran.

As with many outsiders of the 60s and early 70s, she turned up in Tokyo’s Shinjuku, a famed spot for many a writer, actor, artist and musician. It was here her songs first aired, and she was swiftly booked to record her music.

With a groove set in stone with her Bye-Bye Session Band - later including Ryuichi Sakamoto and jazz keyboardist Hiroshi Sato - this selection covers her 70s period, with strong seams of soul, funk, touches of folk- and space-rock, and her signature (in Japan) heartbreaking ballads.

Vibrations from the other side of the globe, in the same period as classic Curtis Mayfield, Stevie Wonder, Cymande, Sly & The Family Stone, and the rest, all with Lily's voice make this music utterly unique.

Compiled by Howard Williams, whose Japanese music show Japan Blues has been a mainstay on NTS Radio since 2014. He has released several retrospectives of Japanese music for various record labels, covering traditional folk (Nippon Folk, Japan Blues for The Trilogy Tapes); kayoukyoku & Nihon Indigo (also Ttt); 70s female gangster soundtracks (Killing Melody, Ethbo); 50s rockabilly (Nippon Rock’n’Roll, Big Beat); surf guitar and funk rock (Nippon Guitars, Big Beat); soul, funk and disco (Lovin’ Mighty Fire, Bgp); and the jazz singer Maki Asakawa for Honest Jons, after co-compiling their Moondog retrospective, Viking of Sixth Avenue.

With liner notes written by Lily’s original producer, Yukiji Teramoto translated by Alan Cummings, and the photography of Jin Tamura

Transversales Disques proudly presents Thelonious Monk / Live in Paris (1966). Lost Ortf Recordings. A unique pianist and composer, Thelonious Monk (1917-1982) is one of the greatest jazz legends of all time. Thelonious is surrounded by his legendary quartet featuring Charlie Rouse (saxophone ténor), Larry Gales (bass),and Ben Riley (drum). First ever official release of this lost Ortf recording performed live in Paris at Studio 104, Maison de la Radio.Release with the full permission and cooperation of the National Audiovisual Institute (ina). Deluxe Tip-On Jacket / Exclusive Liner notes

Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD re-issue. This is the only place where you can hear some of Arthur’s most recognisable music, like the title track Another Thought, A Little Lost, This Is How We Walk On The Moon, Keeping Up and the woozy disco of In The Light Of The Miracle and My Tiger, My Timing. Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Thanks to Janette Beckman for helping reproduce her iconic photograph of Arthur in his newspaper boat hat for the new vinyl sleeve. And thanks also to Tom Lee for giving permission to include his liner notes from the original CD booklet, together with Arthur’s lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact it’s essential for any fan of non-obvious pop music.

Osaka's proud jazz-funk band “Wa Yo Set” releases its long-awaited third album. Simultaneous Lp/cd release! This is the birth of a masterpiece that embodies the urban folk music “adm (=Acoustic Dance Music)” that is synonymous with the group, a crossover of Jazz~hiphop~r&b in every direction.

Combining disco pulse with Turkish/Kurdish music and the energy of Marseille"s multi-cultural hipness, Biensüre brings a cool edge to the musical landscape of the mediterranean city and the dancefloors of the world. The group"s music, inspired by the personal stories of its singer, Kurdish Hakan Toprak, speaks of impossible loves, friendship and exile and is wraped up in an unmistakable groove. The eponymous album is the group"s first release, written, composed and produced by the four musicians and it is composed of seven groove-infused tracks that will please all global music lovers.Marseille in one of the coolest cities in France: The cafés, the terraces, the clubs, the Mediterranean sea and the mountains not far, make for a perfect setting for the wildly creative rebellious youth to express their art in a world of perpetual change. This is the setting in which Biensüre was born. Biensüre"s influences are varied and transcend generations and borders. Ranging from the Anatolian pop scene of the 70s and 80s with key figures like Erkin Koray and Baris Manço to 70s Jazz, Disco and early electro, their music is at the intersection of several musical continents.

Kenichiro Nishihara's 2nd album "life" is now available on long-awaited LP!

Extremely obscure ‘Rare Groove’ album recorded in Argentina in 1974 and produced by great radio and music producer Mochin Marafioti. It has been impossible to learn who the musicians of the amazing session were. Soul, funk, psychedelia and latin melt into a sort of funkadelic sound. Spoken intro, sensual vocals and a monster rhythm section flirt with wah wah guitars and catchy melodies. A truly hidden treasury brought back to life by legendary Easy Tempo crew and destined to please the worldwide Rare Groove clubbing nation. To the original recording were added Edits by Andrea Passenger done in the spirit of the classic disco music manipulators like Tom Moulton, Danny Krivit and Walter Gibbons. To be played very loud.

1st in a series of compilations collecting the ultimate funk & soul tracks from the legendary TK Disco catalog that have been instrumental is shaping the sound of hip-hop. 10 tracks from the vaults highlighting grooves that have been sampled by Drake, DR. DRE, Kanye, Madlib. Pete Rock, and more.

Orlas is a collaboration between father and son Victor Chicri and Vic Delnur. Drawing their name from the Portuguese word for shores/coasts, their music is an ode to the ocean, blending waves of fusion, samba-jazz, bossa nova and disco-funk.

Starting out in the vibrant '70s music scene in Rio de Janeiro, maestro and pianist Chicri, has played with many Brazilian greats such as Gal Costa, Seu Jorge, Bebel Gilberto, Simone and many more. He's taken his music worldwide, performing with Quincy Jones Orchestra at the Montreux Jazz Festival. His work has earned him a Latin Grammy, as well as a number of Gold and Platinum records.

Vic Delnu, multi-instrumentalist and record producer, has toured the world playing with such artists as Sessa, Mahmundi, Luciane Dom and Trella.

Orlas debut album Viver o Mar showcases their diverse musical influences such as Azymuth, Arthur Verocai and Jorge Ben Jor. The album features an eight-piece orchestra, adding depth and richness to the funk rhythms and jazzy melodies. The title track and first single "Viver o Mar" is an ode to the sea and a breezy blend of samba-jazz and disco-funk. The second single "Alagoas" is a deep groove paying homage to Delnur's grandmother, Dona Moema, who was born and raised in this picturesque tropical paradise where happiness thrives in the simplicity of life.

Curating and ordering the tracks for a Mr Bongo Record Club is always special. You’re reminded of the feelings you had when sitting at home with a cassette player on pause trying to compile the perfect mixtape to impress the latest object of your affection, or that friend with whom you share a musical kinship and spark off each other’s latest discoveries. Hearing old tracks for the first time or diving into the most upfront selections keeps the fires burning and passions alight.

Here, for volume six, we present recent finds and treasured classics from Brazil, Sweden, the USA, South Africa, Portugal, Japan, Trinidad and Tobago, and Canada. We have included selections by the Brazilian rising star Dora Morelenbaum as well as from heritage-Brazilian musicians and vocalists Haréton Salvanini, Copa 7, and Mirna. There’s also the wonderful Brazilian-not-Brazilian take of 'Ye Me Le' by Hazel Scott And The Braza Brasil, plus sublime gospel from the New York Community Choir. We’ve picked disco and soul rarities by General Lee and Ash Soul, Inc., and for the first time on vinyl, an incredible psych-pop song by the illustrious Matthew Tavares. There are cuts from some of our favourite contemporary Swedish musicians, Sven Wunder and Dina Ögon too.

This compilation is packed full of gems that are plucked from differing times and spaces, but somehow all gel together beautifully. We hope you love them too.

Nautilus, a band that embodies the contemporary rare groove scene. Their 9th full album “Sunrise” will be released on LP and CD at the same time! The album contains 10 tracks, including original jazzy funk songs in full Nautilus mode and cover songs featuring Emi Tawata and Ray Yamada on vocals! Don't miss the covers of great masters such as Thelonious Monk and Yusef Lateef. This is a masterpiece that should be described as a sunrise just before their 10th album, which should be commemorated.

Transversales Disques proudly presents Pharoah Sanders - Live in Paris (1975). A never-before-released ORTF recording performed live at studio 104, Maison de la Radio, Paris. First official release with the full permission and cooperation of the National Audiovisual Institute. Deluxe edition, Classic Tip-On Gatefold jacket, including exclusive liner notes and pictures. Mastered from the original master tapes

After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th Tstd compilation. Who would have thought…. The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond. The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

These sixteen tracks of newly ‘un-vanished’ hit-making genius find us once more in that delightfully Westcoast state of mind, the musical breeze in our hair as we corner on the headland, the top most definitely down. Too Slow to Disco 4 is also a love letter to the genre-smashing bravery of that era, Yacht Pop rubbing shoulders with Christian Gospel, groovy Folk, Country-Soul and Blue-Eyed Soul. As ever, DJ Supermarkts genius is to uncover the musical through line that joins these missing-in-action names and the tunes that could have been their big moment. The result is a kind of joyous alternative history of the era, where a very different pantheon of pop gods became the names we love.

As usual these tunes feature ludicrous levels of musical competence, boasting tight grooves in tighter polyester, and yet there’s (almost) not a single household name in sight. DJ Supermarkt is once again looking for the special “geniuses” in the background and behind the sound, musicians and a-list composers, whose names are not well known, but who wrote million selling tracks for other acts in the spotlight: Like Kenny Nolan, who a.o. wrote “Lady Marmalade”, The Dukes, who penned Sheena Easton’s “Modern Girl”, Air Supply’s “Every Woman In The World” and Chaka Khan’s “Fate”, famously sampled by Stardust for their French House Club-Hit “Music Sounds Better With You”.

Four of these 16 tracks are taken from super rare private press vinyls, unearthed by Dj Supermarkt over several years by chasing down the original composers, musicians or producers, and now officially rereleased for the very first time.

Transversales Disques proudly presents Panorama, an excursion through rare French soundtracks & other rarities mostly never reissued or compiled. 11 forgotten nuggets recorded between 1969 and 1980 by famous masters like Francis Lai, Alain Goraguer and Michel Magne alongside underrated composers like Jean Schwarz, Christian Gaubert or Maurice Lecoeur. A cinematic journey overflowing with moody strings arrangements, funky drum breaks, typical French basslines and psyched atmospheres.

After more than 45 years forgotten in the personal archives of Jean Schwarz, Transversales Disques is very happy to release this previously unpublished recording which brings together the great Don Cherry and his friend, composer Jean Schwarz, pioneer in electro-acoustic music and member of G.R.M. This concert was recorded in 1977 at the Paris MIX festival (Théatre Récamier) organised by G.R.M and hosted by director François Bayle. An elegant mix of spiritual jazz and electronic sounds around this astounding quintet made up of JF Jenny Clark, Nana Vasconcelos and Michel Portal. Remastered from the original master tapes. Exclusive pictures and liner notes

The magic 80s nostalgia is here! Sonor Music Editions in collaboration with Beppe Savoni and Giuseppe Giammetta, respectively known in the digital space as Disco Bambino and Sovraimpressione announce a special release by the Italian queen of silver screen, actress Eleonora Giorgi. The limited edition 7-inch includes a rework of the 1981 soulful disco track "Quale Appuntamento...", written by Bipap, Cristiano Malgioglio & Pino Presti, originally released on the iconic Ricordi label; on the B-side, restored and for the first time ever on vinyl, "Magic", taken from the 1980 original soundtrack of the film "Mia Moglie È Una Strega", with music arranged and directed by Detto Mariano.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

Transversales Disques proudly presents Rahsaan Roland Kirk - Live in Paris (1970).

Gifted multi-instrumentalist Rahsaan Roland Kirk at the height of his powers, backed by his Vibration Society, including long-term cohorts pianist Ron Burton, powerhouse percussionist Joe Habao Texidor, Dick Griffin on trombone, drummer Jerome Cooper and Vernon Martin on Double Bass. First ever official reissue of this rare ORTF recording performed live at studio 104, Maison de la Radio Paris, with the full permission and cooperation of the National Audiovisual Institute (INA).

Deluxe edition, Classic Tip-On jacket, including exclusive liner notes and pictures. Mastered from the original master tapes.

After many years working as a buyer for several record stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo’s Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the legendary Wamono A to Z records guide book together with DJ Yoshizawa Dynamite.

For this brand new chapter in the highly acclaimed Wamono series, our man Chintam goes digging into the vaults of one of the most revered Japanese labels: Trio Records. Established in 1969 by audio manufacturer Trio Electronics, now known as Kenwood, the label - and its subsidiaries such as Showboat and Trash - released high quality music spanning a large variety of genres including rock, jazz, fusion, soundtracks and popular songs, until its end in 1984. Through the eight tracks selected here, Chintam unearths some dope drum breaks, heavy bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and boogie music developed throughout the years since the sixties in Japan! 180g heavy vinyl pressing, reverse board jacket.

● Fully licensed Trio Records masters.

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

● Signature artwork by Yoxxx.

Idris Muhammad recorded this classic Jazz-Funk album 'Turn This Mutha Out' in 1977 for the Kudu label. Some great session musicians accompanied him and the album has that David Matthews signature Disco-Jazz-Funk sound. It was well received in the UK most notably for the opening track 'Could Heaven Ever Be Like This', an undisputed classic. Idris and Wilbur Bascomb on bass create the perfect bedrock for Mike Brecker on Tenor Sax, Hiram Bullock on Guitar and Cliff Carter on Synthesizer to solo above, topped by Frank Floyd's vocals. It has been sampled at least seventeen times, most notably by Jamiroquai and Drake.

Limited to 100 copies on purple vinyl. Only available at hhv.de

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

Limited to 100 copies on blue vinyl. Only available at hhv.de

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

On their third studio full-length, Mildlife link microcosmic personal meaning with a macro view from on high. Chorus is the sound of singular entities coalescing into a wondrous whole. It’s harmonious togetherness and celebratory symbiosis. And it’s the band’s ultimate statement of their borderline mystical unity, their unified theory of groove.

“Chorus is about a coming together of disparate elements. Not in some sort of utopian aesthetic where everything works perfectly, but in the natural flow and state of things,” shares the band’s Jim Rindfleish. “It’s about cosmic compatibility and chemistry: what makes things work? Not just what makes the band work, but what makes good music, art or love? It’s the rhythm of nature”.

Following 2020’s Automatic and 2017’s Phase, Chorus arrives as Mildlife’s most optimistic record, serving as a sonic testament to the band’s unwavering adoration for the beguiling realms of 70s psychedelic and cosmic sounds. Delve deeper, and you’ll unearth Polish jazz, Italo disco and a sprinkling of contemporary electronic sounds. Chorus is the dance of an expanding and contracting universe - its groove is forever and always, cyclical and evolving. In its most human moments, the album luxuriates in the velvety embrace of Tomas Shanahan’s bass lines, Halliwell’s luminous guitar riffs, Kevin McDowell’s hushed and alluring vocals, Rindfleish’s intricate percussive tapestries and the spiritual rhythms of regular collaborator Craig Shanahan. Swept up in the chorus, the lines between individual and ensemble blur.

“It’s knowing that all the pieces of our own puzzles can slot neatly into a bigger one.” says Shanahan. Such a creative revelation is the band's growing assurance in their vocal prowess. On the band’s previous albums, McDowell's voice stood as the predominant lyrical conduit, but on Chorus all members have a moment of expression, highlighting their own choral visions, forging a new unified openness and humanity to the their sound. “We had this idea that we wanted to create a kind of disparate ecosystem of living things,” continues Shanahan. “We liked the idea of creating a small metaphor of moving through space. You see moments of things and sounds that may not emerge again, until everything around you starts to unify.”

Chorus might be an album of individual tracks, band members and experiences, but it’s more than the sum of its parts. It’s microscopic particles forming new minerals or overlapping time signatures folding in on themselves in generative creation. With the release of Chorus the band has once again opened a portal to their singular realm of rhythmic communion. Step into the flow.

As-Shams Archive Vol. 1 introduces the core catalogue of As-Shams/The Sun, the independent record label that documented some of the most exciting developments in jazz, funk and soul from South Africa in the 1970s. With 10 tracks from 10 iconic albums featuring 10 different artists and 10 original compositions, this 2LP compilation delivers 85 minutes of South African music history.

Including essential tracks by the likes of Dick Khoza, Black Disco and Harari, remastered from the original analog tapes and housed in a gatefold art sleeve, As-Shams Archive Vol. 1 is an unbeatable introduction to South African rare groove for new listeners as well as a long-awaited first anthology for the label’s many devoted followers.

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Still in shrink but opened. Original inner sleeve. with hype sticker.

Originally recorded in 1985, following a lengthy semi-retirement from the music business and time spent living in Barbados and Liberia, "Nina’s Back" features a rejuvenated Nina Simone reaching out to a wider musical audience: A well-chosen set of memorable standards and several Simone original compositions, the band includes horns and backup singers for a recording that’s unique in Nina’s catalog. Originally released on LP, cassette and later in the 80s on CD, Verve Records, in partnership with the Nina Simone Estate, are proud to release this album with refreshed artwork on vinyl, CD, and for the first time ever digitally.

Transversales Disques proudly presents Alain Goraguer Rare Soundtracks & Lost Tapes. French composer Alain Goraguer who first made a name for himself as a sideman and arranger for Serge Gainsbourg wrote very few soundtracks, but amongst them, the legendary La Planète Sauvage (1973) is an absolute staple of France’s essential music. During that same period of time, Goraguer wrote two rare and beautiful scores using the same masterclass arrangements. On L’Affaire Dominici (1975), Alain Goraguer creates a theme of great melodic clarity from a palette of breathy flutes, clavinet D6 baroque textures, wah-wah guitars and slow-paced drums that clearly reminds La Planete Sauvage’s atmosphere. The same can be said about the score of Au delà de la peur (1975) with its descending clavinet melody, twanging bass riff, funky drums and flashes of bended electric guitars. This record also includes never before released tracks found in the vaults of French national radio: beautiful and timeless orchestral compositions recorded at Studio 105, Maison de la radio.

Arthur Russell first visited The Gallery in 1976 with his then boyfriend Louis, who introduced him to Nicky Siano. Arthur became a regular at the space and one night as Siano was playing “Turn the Beat Around”, which had just been released, Arthur waved at him from outside the booth and asked to come in. Nicky opened the door and Arthur suggested they make a record like this together. This ended up being a huge step for Siano as it marked the first ever production by a DJ making a record from scratch.

Arthur had written a song and had an arrangement for it so they assembled a band featuring Wilbur Bascomb who was one of Nicky’s favorite bassists, as well as, Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon and Peter Zummo who were all friends of Arthur’s. Russell played the cello and piano – and that was the band. They recorded throughout 1977 and the “Kiss Me Again” 12 inch was finally released in 1978 on Sire Records selling more than 300,000 copies.

Week–End Records is proud to release the first ever reissue by this outstanding disco production. Remastered from the original tapes. With liner notes by David Byrne, Nicky Siano, Peter Gordon and Peter Zummo.

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before Ortf recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (ina) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes. « While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives". A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so". If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique)

Japanese Jazz-Funk & Rare Groove 1968-1980 (Selected by DJ Yoshizawa Dynamite & Chintam) Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo’s Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa. With this first volume of the Wamono series, our two DJs here guide you through some of the best and rarest jazz funk and rare groove tunes produced in Japan between 1968 and 1980. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

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 Rythmiques 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.

Juan Pablo Torres was one of the best trombone players in the Latin-jazz community of the second half of the 20th century. He was the director of Algo Nuevo and a member of Irakere, two of the leading exponents of Afro-Cuban jazz in the 1970s and 1980s. He has also directed various Cuban supergroups such as Estrellas de Areito and Cuban Masters. Almost all of his albums were made for Areito de La Habana, Cuba. ‘Cuba Disco’ was the only album released in his name in Europe; recorded in Milan in 1984 and produced by Aldo Pagani. In Italy in the same year he participated in two records by Pino Daniele and one by Astor Piazzolla. Accompanied by his faithful Gruppo Algo Nuevo, with the addition of some guests such as the Italian jazz guitarist Angelo Arienti, his traditional Afro-Cuban vein is contaminated by disco and balearic moments; as in the case of the magnificent ‘Bermuda Triangle’ which anticipates the current atmosphere of Nu Genea. Limited edition. Released from the transfer of the original master tapes.

An urban jazz-pop album dedicated to all music lovers!! Tetsuro Yafune & Seira Kariya's full album is here. The album features original songs and colorful cover songs that transcend time and genre. All 10 songs feature Seira Kariya on vocal. The acoustic band sound is the essence of the Yafune Tetsuro Trio's jazzy arrangements and Seira Kariya's cute and powerful voice is brought out to its fullest.

Maurice Lecoeur could be considered as France’s best kept secret composer. Although hardly known outside of « digging-nerds » circles, he produced an incredible number of themes for movies, TV programs and commercials. Inspired by his friend and mentor François de Roubaix, he managed to create his own print, juggling freely with genres, harmonies, tonalities and string arrangements. This fine compilation gathers together the cream of his 70s-to-mid-80s work ; a journey overflowing with pop fantasies, crazy drum-breaks and beautiful orchestral themes. Most of these magnetic tapes are totally unrealeased and could have burned in the terrible fire that devastated Lecoeur’s home studio in the early 90’s. For fans of Jean Claude Vannier, Michel Colombier, François De Roubaix and Janco Nilovic…

Pierre-Alain Dahan & Slim Pezin's Neo Rythmiques is an absolute KILLER Tele Music library classic from 1976. It's absolutely sensational throughout, all scorching, uptempo jazzy soul funk that Mr James Brown himself would've been envious of. This is serious business with breaks for days. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet. With Neo Rhythmiques, he's joined by his eternal guitar colleague Slim Pezin (Voyage, Manu Dibango, Nino Ferrer), so you know this Be With reissue is fundamentally vital.

Opener "Soul Car" is a swaggering, horn-drenched jazz-funk beast whilst the slick JBs funk of "Happy Penalty" is just plain irresistible. Definitely influenced by American funk flavours, it stands alone on its own right as a brilliant piece of music, no question about that. The blazing "Kuzi-Kuza" is again horn-fuelled but has a more exotic, Latino feel, all loose grooves and bastard blues with funky organ and shredding guitars. The stomping, proto-disco of "Mercy Boa" is a guitar-sizzled Bohannon-esque hypno-groove for adventurous dance floors the world over. Outstanding. And if all that wasn't enough from one half of a 70s French library LP, the A side ends with the monumental, stratospheric "Slim Bertha"! I mean, what can you even say about this absolute monster?! Slo-motion, deep drama funk breaks with jazzy guitar and gleaming percussion. Just sensational.

Side B opens with "Country + Country", a rather forgettable slice of piano driven bluegrass funk (?!) Aaaaannyway, "Super Airship" follows and is a driving fuzz-guitar psych-rock workout of the highest order. We're back on track now. The brilliantly titled "Electronic Mutation" is a total highlight, the funk most definitely returning and, indeed, strong in this one with its deep clean breaks (with some particularly ace hi-hats), echoey effects and funky clavs. "Africa Semper" follows, all funky percussion, trippy echo and distorted, psychy guitar licks. To close out the set, "Neo Rythmiques 1 and 2" form a great salvo of top-tier, percussion-heavy synthy-funk-fusion. For our money, the bugged-out echoey space-soul of "N° 2" just about edges it.

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 - alongside his partner here, Slim Pezin - in the legendary Arpadys, Disco & Co and Voyage. Dahan also featured in Tumblack (with Wally Badarou, Sauveur Mallia et al) and Jef Gilson Septet (alongside Henri Texier), whilst the CCCP Pezin backed, among others, Manu Dibango and Nino Ferrer. Some pedigree.

The audio for Neo Rythmiques 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.

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.

After many years working as a buyer for several record stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo’s Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the legendary Wamono A to Z records guide book together with DJ Yoshizawa Dynamite.

For this brand new chapter in the highly acclaimed Wamono series, our man Chintam goes digging into the vaults of one of the most revered Japanese labels: Trio Records. Established in 1969 by audio manufacturer Trio Electronics, now known as Kenwood, the label - and its subsidiaries such as Showboat and Trash - released high quality music spanning a large variety of genres including rock, jazz, fusion, soundtracks and popular songs, until its end in 1984. Through the eight tracks selected here, Chintam unearths some dope drum breaks, heavy bass lines and funky horns, for an essential selection of jazz funk fusion and rare groove vibes produced on Trio between 1973 and 1981.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and boogie music developed throughout the years since the sixties in Japan! 180g heavy vinyl pressing, reverse board jacket.

● Fully licensed Trio Records masters.

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

● Signature artwork by Yoxxx.

Following the highly acclaimed Volume I, dig further into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

Fully licensed Nippon Columbia and Victor Japan masters available for the first time outside of Japan, featuring rarities from Jiro Inagaki & Soul Media, Hiroshi Sato, Bread & Butter, Hatsumi Shibata, Fujio Tokita and more!
Tracks selection by Japanese super diggers and Wamono specialists DJ Yoshizawa Dynamite and Chintam
Mastered and cut at Timmion Cutting Lab
Artwork by Yoxxx (Tokyo)
180g heavy vinyl pressing, reverse board jacket

Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo’s Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves.
He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa
In this second volume of the acclaimed Wamono series, Yoshizawa and Chintam dig into some of the best and rarest funky tunes produced in Japan during the seventies. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

New Library Series, sealed Obi strip, 180g vinyl & insert, digital download. “Helsinki funk legends Kuja Orchestra is back with a new line-up and new set of tight grooves. Latin, soul, blues and disco-funk melt with African and oriental influences.”

A Espetacular Charanga do França is Sao Paulo's most hyped carnival collective and brass band led by Thiago França - best known as a founding member of Afro-punk explorers Metá Metá. The collective combines retro horns with cumbia, baile funk, jazz and features Brazilian vocal legends such as Lucas Santtana, Tulipa + Jucara Marcal.

Following the work previously made on "Cocktail Bar" and "Erbe Selvatiche", Modern Sound Quartet release their third full-length "Floreama" in 1977, this time focusing their work around the world of flowers. The twelve tracks on this recording boast the highest form of Italian jazz-funk vibes, with some rock, disco and spacey moods thrown in for good measure. Each flower sets the track in a different mood and brings the listener in a different dimension, alternating upbeat funky moments to some more mellow atmospheres. Now available on vinyl for the first time since its original release as a limited edition of 500 copies.

Composed by legendary library guitarist and founding member of I Gres, Silvano Chimenti, and accompanied by his orchestra, "Disco Music" is an essential release of the Usignolo catalog and probably one of the most sought after titles of the series. This album displays a broad range of styles masterfully blended together by Chimenti, going from disco-funky bangers "Happy California" and "Autostrade Americane" that lead way to the more dramatic and suspenseful vibes of "Society Problem" and "Tragedy", finishing off with the rock vibes of "Indian Summer" and the mellow atmospheres of softer, lounge-like songs such as "Lady Primavera" and "Chiara". One of the most complete and well-rounded library albums of its era, "Disco Music" is finally available on vinyl once again after a very long time as a limited edition pressing of 500 copies.

A Vibrant Electronic Fusion Of Lounge, Jazz, And Disco Is Maybe Not The First (Or Fifth) Thing You Would Expect To Hear From One Of The World's Most Renowned Modern Composers And Ambient Tape Loop Pioneers, But Upon First Listen, It Makes So Much Sense That One Wonders Why It Didn't Happen Sooner.After Years Of Producing And Mentoring Slews Of Young Artists In 1990s Williamsburg, Brooklyn, William Basinski Moved To Los Angeles. There He Hired A Young Studio Assistant, Preston Wendel, Who Eventually Introduced His Own Works To The Curious Composer. That Spawned A Creative Partnership That Inspired Wendel To Persuade Basinski To Haul Out His Saxophone. Five Years Later, Sparkle Division Has Arrived With Their Enchanting Debut Album, To Feel Embraced. Produced By Sparkle Division At Basinski's Musex International In Los Angeles, The Duo Were Joined By A Few Notable Friends: Mrs. Leonora Russo (Who Basinski Affectionately Calls "The True Sicilian Sparkle Division, My Brooklyn Mom, The Queen Of Williamsburg") Offers Her Sparkling Voice To "Queenie Got Her Blues"; Fabled Free-Jazz Icon And Genuine Bodhisattva, The Late Henry Grimes, Contributed Upright Bass And Violin To The Aptly-Named "Oh Henry!" ("Lotta Babies Gonna Be Born From This One," Henry And Margaret Davis Grimes Playfully Declared); And London Vocalist Xeli Grana Offers Her Ethereal Voice To The Album's Meditative Title Track.Conceived And Nearly Completed In 2016, The Increasing Environmental And Political Infernos Gave Basinski And Wendel Cold Feet About Unleashing A Record Intended To Be Fun, Loving, And Prone To Bouts Of Euphoria. But As Basinski Exclaimed, "Well, Damn It, If The Time Ain't Right Now, It Never Will Be! Let's Do This!"

Robert Ponger is perhaps best known as the producer for Austria’s biggest pop sensation Falco. His unparalleled production skills are on full display in the iconic hit single “Der Kommissar”, and he is also the main man behind Falco’s legendary early albums “Einzelhaft” and “Junge Römer”. But Ponger deserves at least as much credit for his solo recordings. The most sought-after of these is Ponger’s 1979 self-titled LP, which Edition Hawara is honoured to re-issue. The album contains twelve disco-inspired pieces that are unabashedly playful, but also signal serious musical knowledge and finesse. Recorded in the vicinity of Mistelbach, a village even locals struggle to find on a map, Ponger’s LP breathes the vibe of Studio 54 – with the little special extra that only Mistelbach can add. A true Austrian classic.

Ultra rare album, now finally available for an affordable price.
Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit’s third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer’s label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece “Waiting,” with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s? We’re not sure. To our minds at least, it could also be from the future.

In the wake of a 2020 edition of Movement in the City's second album Black Teardrops (1981), Sharp-Flat Records returns with a prequel by way of a reissue of the band's self-titled debut from 1979.

As the 1970s were drawing to a close, the epic Black Disco studio project with its signature pairing of drum machine and organ had run it course. After delivering a killer trilogy of cosmic lounge outings dating back to 1975, the group yearned for funkier grooves and the core trio of composer Pops Mohamed on organ with Basil Coetzee on tenor sax and Sipho Gumede on bass decided to hire a drummer and rebrand as Movement in the City. In contrast with the New Age detachment of Black Disco, Movement in the City was conceptually grounded in the bleak social realism depicted on its photographic album covers and leaned into the vivid sensibilities of library music from the era. Blending Cape jazz with funk and soul, the group's output evokes a soundtrack for South African city life at the outset of the 1980s while nodding allegorically to the subterranean movements that were in the course of shaking the cage for political change.

With its cast of jazz fusion all-stars, Movement in the City is the manifesto of a band in transition - a bold and slick first offering that delivers a modern South African sound capable of both the funky exuberances of "Mister Lucky" as well as the down-home pathos of "Blue Sunday." Restored from its original tape masters and released in partnership with As-Shams Archive and Pops Mohamed, this rare artefact of South African jazz history is back in print for the very first time since its original 1979 release.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band Soyuz and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

Between May and September 1970, pianist François Tusques recorded »Piano Dazibao«, an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded »Dazibao N°2«, which shows him as an incisive commentator of his times. Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for “friendship between all the peoples of the world” to the sound of Universalist hymns which transported us from Africa to Asia. But it is really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering “Seize the Time” by Elaine Brown – three years after the release of Dazibao N°2, she became the first (and only) woman to lead the Black Panther Party.

The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument.

In Paris in 1965, F. Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France. Years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: »Piano Dazibao« and »Dazibao N°2«.