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The third release from Jazz Is Dead records is features Marcos Valle, one of the greatest and most important composers, arrangers, writers and performers in Brazilian history. A jack of all trades, Valle has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and more.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

The third release from Jazz Is Dead records is features Marcos Valle, one of the greatest and most important composers, arrangers, writers and performers in Brazilian history. A jack of all trades, Valle has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and more.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

„Blue Note Re:imagined II“ is the sequel to the successful 2020 album. Once again hip, young Brits use modern means and creative ideas to update famous Blue Note tracks. No. 2 of the four pre-release 7" singles features singer KAY YOUNG with "Feel Like Making Love" (after Marlena Shaw) and the instrumental duo VENNA & MARCO with "Where Are We Going" (after Donald Byrd).

Record Store Day Exclusive. For the first time on vinyl! One of the world's best bassists with an MPB legend feat. Azymuth drummer Ivan Conti, percussion master Marcos Suzano & Dudu Viana on piano.

A Marco Dalpane's unreleased recording (mainly known for the cult album “Scorie” released with Tiziano Popoli) produced in 1991 for Radio Rai as an accompaniment to the reading of Italo Calvino “Le città invisibili” ("Invisible Cities”).
First thing you notice is how Marco Dalpane personal soundtrack for “Le città invisibili” could be seen as a link towards the combinatorial approach adopted by Italo Calvino in the book, where he used the language as a semiotic system and the literature as a mechanism of possibilities, with the reader becoming active part in the process. You can see Dalpane detaching from a linear handling of the compositional resources, working instead with computer algorithms and emerging with a sound-sphinx that multiplies the listening interpretations, a sound that is characterized in form and timbre but at the same time is full of suggestions and summoning elements that the listener has to relate. In this it’s evident a constant in the Dalpane’s music, its sensitive side, away from every technical or conceptual precondition. In the five tracks created for this soundtrack, that finally are collected in this album, as in his other works, Marco is always capable to decode aesthetics coordinates of the cultural or temporary universe of reference, but mainly he is the vehicle of an artistic vision that is plausible incarnation of the essence of things, the very spirit of being a musician.

The song "The Word II" was sampled by Mac DeMarco on “Chamber of Reflection" and by Travis Scott and Quavo's project Huncho Jack on "How U Feel." This sampling led to the song becoming widely recognized around the world. The reissue of Shigeo Sekito's masterpiece includes the song. This is the most listened to Electone album in the world, attracting attention from a diverse range of musical genres, including hip-hop, Balearic, and dream pop.

Limited to 4500 copies worldwide. Madlib reissues his long out of print collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth, on his own imprint. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of the Brazilintime documentary, his one mission was to meet Ivan “Mamao” Conti, the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio, Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Sujinho is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like “Upa Neguinho” to 21st century ears.

The legendary Argentinean composer and multi-instrumentalist Alejandro Franov's masterpiece from 2004 is going to be out on vinyl for the first time! Mastered by Kuniyuki Takahashi. Alejandro Franov has been surrounded by music since he was a child and became a multi-instrumentalist as he should have. In this work, he plays a wide variety of percussion, piano, synthesizer, and sitar. Guest performers include Marco Cabezaz on marimba, vibraphone and tabla, and Emiliano Rodrguez on guitar. His close friend Luis Alberto Spinetta, one of the biggest names in Argentine rock, joins him in the chorus on "Ayodhya". His colorful rhythms, lyrical and meditative melodies weave an orientalism of his own.

Rosa Brunello's latest album, "Senseless Acts Of Love" on Domanda Music, is a beautiful testament to the power of music. With captivating melodies and a celebration of uniqueness, this album brings together an incredible fusion of talent from jazz and experimental music. Collaborating with brilliant artists such as Yazz Ahmed, Tamar Osborn, Maurice Louca, Marco Frattini, Enrico Terragnoli, and Luca Tapino, Brunello takes us on a journey through love and exploration.
Through the concept of slow travel, "Senseless Acts Of Love" encourages listeners to embrace a more conscious and sustainable approach to exploration. It inspires us to connect deeply with the world we inhabit and appreciate the diverse cultures that coexist within it. This album captures the essence of unity, with collective improvisations and serendipitous moments of sonic synchronization.

Cucoma Combo. Above all, the new boiling energy of pan-rhythmic music, the awakening dance of joy, the experimental space for ambitious arrangements and free-improvised parts of colorful horns. From Black Africa to South America, we travel on paths of Congolese soukuss and Amazonian carimbò, between accents of Colombian cumbia, kalimba vibes and tribal voices. We find seeded traces of space-funk and afrobeat, with amazing acid keyboards and an enchanting female voice. The power of rhythm and in general the whole project are leaded leaded by Marco Zanotti, a multifaceted drummer and fine poly-percussionist, expert of the African and South American sound universe. With his Classica Orchestra Afrobeat, he proudly took part in outstanding collaborations with Seun Kuti, Sekouba Bambino and Baba Sissoko, as well as a prestigious participation in the Glastonbury Fest.

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers Jid002, Marcos Valle Jid003, Gary Bartz Jid006, and Joao Donato Jid007. More than the previous eight Jazz Is Dead releases Instrumentals Jid009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers Jid002, Marcos Valle Jid003, Gary Bartz Jid006, and Joao Donato Jid007. More than the previous eight Jazz Is Dead releases Instrumentals Jid009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

Two fabulous funky tracks originally released on the award winning album Goma-Laca – Afrobrasilidades in 78 rpm which updated Brazilian Music originally recorded on 78's in the 1920s to the 1950s. With musical direction and arrangements by Letieres Leite, the vocal pyrotechnics of Russo Passapusso and Juçara Marçal masterfully accompanied by double bassist Marcos Paiva, Hercules Gomes on piano, Sergio Machado on drums and percussion master Gabi Guedes. Under the direction of Letieres, the group created with the singers arrangements of jazzy tones over Afro-Bahian rhythms, and everything was recorded live at Estúdio Traquitana, in São Paulo.
The version of Cala Menino Boca best known from the version by Joao Donato that's been doing the Dancefloor round since the early Acid Jazz days here gets a funky and rhodes led percussive update and of course the traditional tune "Ogum" gets a soulful jazz run through, folky funk like you've never heard before. This is yet another welcome addition to the Jazz Room canon, watch those dancefloors light up when this wax spins!

The second volume in the “Freedom Jazz Dance” series, conceived and compiled by Schema Records founder Luciano Cantone back at the beginning of the third millennium, is finally available again on vinyl. This series, whose aim is blending classic jazz and modern sounds for the new generations of music listeners, focuses here on a more ‘underground side’ of the record label’s roster with Soulstance, Invisible Session, Quartetto Moderno, S-Tone Inc., Paolo Fedreghini & Marco Bianchi ……………..

Extending the heritage left from the first chapter of the “Free¬dom Jazz Dance” series, Schema Records presents the “Book II” volume which included, back in 2005 when it was original¬ly released for the first time, various unreleased tracks from Schema and ‘non-Schema’ renowned artists. The FJD concept comes from an idea of Luciano Cantone, aiming at offering ‘New Standards’ that can be understood and responsively absorbed by new young generations of music lis¬teners. The title comes from a Eddie Harris’ composition and contains the keywords that perfectly describe the essence of these compilations: the sense of artistic “Freedom” that consti¬tutes a basic ingredient for “Jazz” and the natural impulse of movement, “Dance”.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

Limited edition of 200 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz. Only available at HHV.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'. Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku. 'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government. For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version. On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.

Madlib reissues his long out of print collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth, on his own imprint. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of the Brazilintime documentary, his one mission was to meet Ivan “Mamao” Conti, the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio, Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Sujinho is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like “Upa Neguinho” to 21st century ears.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career.
This, her second self-titled LP from 1972, features an all-star line up including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes amongst others. Célia’s version of ‘Na Boca do Sol’ – taken from this album – is arguably her most well-known and well-loved song. An incredible take on Verocai’s original, featuring waling fuzz guitars, strings, piano, horns and drums. Needless to say clean, original versions of this record now change hands for silly money! We are very proud to be able to reissue it officially, at long last. Official Mr Bongo reissue. Replica original gatefold artwork. Licensed from Warner Music.

American jazz singer Gary Marks was born in New York in 1950. After he self-produced his first album, Gathering in 1973, he relocated to the West Coast in 1976, where he collaborated with artists such as Art Lande and Paul McCandless, a member of the band Oregon, producing two albums. Among his many works, his highly acclaimed 1977 second album Upon Oanda’s Wing and his 1978 third album Thoughts Of Why are being reissued on LP for the first time ever by P-vine, and we are proud to present them. His blend of jazz with AOR and folk resonates with the music of artists like Kenny Rankin and Michael Franks. For this reissue, the albums have been newly remastered, ensuring high-quality sound for music fans worldwide.

American jazz singer Gary Marks was born in New York in 1950. After he self-produced his first album, Gathering in 1973, he relocated to the West Coast in 1976, where he collaborated with artists such as Art Lande and Paul McCandless, a member of the band Oregon, producing two albums. Among his many works, his highly acclaimed 1977 second album Upon Oanda’s Wing and his 1978 third album Thoughts Of Why are being reissued on LP for the first time ever by P-vine, and we are proud to present them. His blend of jazz with AOR and folk resonates with the music of artists like Kenny Rankin and Michael Franks. For this reissue, the albums have been newly remastered, ensuring high-quality sound for music fans worldwide.

Markus Acher (best known as singer of The Notwist) typically produces his own music under the name Rayon – this time, however, is a different story. Using his real name, he sends a signal re: the circumstances he recorded the music in - at home in his old apartment in Munich, in a private setting, in a time when there was hardly anything else available. Accordingly, and rather fittingly, the four songs represent a bridge to the outside world: Acher tore the doors to his balcony wide open, inviting the outside in , capturing its sound on tape: rain falling, engine noise of passing cars. And at the same time the songs pushed outward, into that sphere that remained off-limits to us for some time (“Like a plane they can go everywhere”).

The four tracks - arranged for harmonium, acoustic guitar, banjo, glockenspiel, percussion, a children's harp and vocals - were released digitally in 2021 via the Japanese independent platform Minna Kikeru, run by Saya (member of the duo Tenniscoats and Markus Acher's bandmate in Spirit Fest), among others. For two songs of «Like A Plane», Saya contributed vocal tracks as well.

Recorded at Studio Pelto in Finland, "Eye of the Universe" is the latest offering from Finnish sax player and composer Markus Holkko. Grounded in his musical heritage, the album explores a range of influences, from straight to Latin and spiritual jazz, with subtle hints of west coast cool and psychedelia.

Sealed copy with a strongly stuffed / bent corner!

A sublime expedition from Brazil to the sky, “Modo Avião” (Airplane Mode) sees São Paulo based trio Caixa Cubo jet further forth from the lineage of Brazilian instrumental music.

Following in the footsteps of heroes like Azymuth, Antonio Adolfo, Cesar Mariano and Marcos Resende, with the tried and tested trifecta of synthesizers, bass and drums, Caixa Cubo have carved out their own idiosyncratic ideal of golden-era Brazilian jazz-funk and samba-jazz. Encapsulating the vitality and experimentalism synonymous with Sao Paulo’s musical history, Caixa Cubo playfully straddle the elegant and the surreal, with masterful songwriting and the consummate musicianship of longtime friends and bandmates Henrique Gomide (keyboards) Noa Stroeter (bass) João Fideles (drums).

Caixa Cubo have been playing together for over 14 years - and that’s ‘playing’ in the truest sense of the word. As bassist Noa Stroeter explains:

“A story, a joke, images, invented words, people we met on tour, places, fictitious or not, have always been part of our creative process. And they are precious materials beyond the musical work itself. This dynamic has stayed with us to this day, and for me it is the characteristic that guarantees that no matter what, we will have fun working.”

Presenting a contemporary reimagining of Brazilian grooves from the 1970s, Modo Avião marks an evolution for Caixa Cubo’s music which delves deeper into the tradition of Brazilian instrumental music, while continuing to develop its rhythmic and harmonic possibilities. Utilising an extensive understanding of Brazilian music history and Brazilian rhythm in particular, the group explore the seemingly endless possibilities of fusing carnaval marches, frevo and Baião, with jazz, MPB and funk.

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

Bristol based band Cousin Kula announce their debut album Double Dinners. With co-signs from the likes of Badbadnotgood and newly signed to Rhythm Section, Cousin Kula have created their own musical universe of otherworldly pop serenity with vastly distinct, but complementary elements: “the possibilities of jazz, the emphatic energy of club culture, and the sonic tapestries of psychedelia” Clash Magazine remark.

Living and recording together, nestled in the sun-drenched hills on the outskirts of Bristol, Cousin Kula are masters of their craft, and also of restraint; widely regarded by their fans for their superior live show. Having performed live in various bands for the past 10 years since their early teens, not being able to hit the stage during lockdown took its toll on these musicians. Ever resourceful, however, Cousin Kula began a series of their own home-made live sessions, which lead in turn to a Boiler Room Session and further a request from XL signees Badbadnotgood to record a live adaptation of their new single.

Now, Cousin Kula flutter into the collective consciousness with a timeless slice of psychedelic soul on debut album Double Dinners. The latest band to emerge out of the buoyant Bristol music scene, they have stripped back all excess baggage for their most accomplished recordings to date. Existing on a similar plane to contemporaries such as Connan Mockasin, Mildlife, Toro Y Moi, Mac DeMarco and Homeshake, the band caught the attention of renowned tastemaker Bradley Zero with their 'Casa Kula Cassette' EP at the end of 2020, with the Rhythm Section founder swiftly taking the 5 piece under his wing, with him commenting:

“The band balance an outsider approach with more hooks than you can shake a stick at... the result being a gently beguiling sound that effortlessly draws you in, revealing more character with each listen.”

Bristol based band Cousin Kula announce their debut album Double Dinners. With co-signs from the likes of Badbadnotgood and newly signed to Rhythm Section, Cousin Kula have created their own musical universe of otherworldly pop serenity with vastly distinct, but complementary elements: “the possibilities of jazz, the emphatic energy of club culture, and the sonic tapestries of psychedelia” Clash Magazine remark.

Living and recording together, nestled in the sun-drenched hills on the outskirts of Bristol, Cousin Kula are masters of their craft, and also of restraint; widely regarded by their fans for their superior live show. Having performed live in various bands for the past 10 years since their early teens, not being able to hit the stage during lockdown took its toll on these musicians. Ever resourceful, however, Cousin Kula began a series of their own home-made live sessions, which lead in turn to a Boiler Room Session and further a request from XL signees Badbadnotgood to record a live adaptation of their new single.

Now, Cousin Kula flutter into the collective consciousness with a timeless slice of psychedelic soul on debut album Double Dinners. The latest band to emerge out of the buoyant Bristol music scene, they have stripped back all excess baggage for their most accomplished recordings to date. Existing on a similar plane to contemporaries such as Connan Mockasin, Mildlife, Toro Y Moi, Mac DeMarco and Homeshake, the band caught the attention of renowned tastemaker Bradley Zero with their 'Casa Kula Cassette' EP at the end of 2020, with the Rhythm Section founder swiftly taking the 5 piece under his wing, with him commenting:

“The band balance an outsider approach with more hooks than you can shake a stick at... the result being a gently beguiling sound that effortlessly draws you in, revealing more character with each listen.”

Favorite Recordings comes back with the 2nd edition of its compilation series: Fusion Global Sounds. 8 rare and hidden tracks produced between 1976 and 1984 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice cooked another fine selection of forgotten Fusion Jazz productions, this time driven by a common Brazilian influence.
On this 2nd edition, recordings come from Brazil, Philippines, Netherlands, Poland, and US, all again from underrated artists mostly unknown from the masses. You'll find here the best elements of the Fusion genre: fine vocal arrangements, catchy Fender Rhodes and synthesizers, irresistible basslines, and classy horns section, altogether bringing a unique groove infused with Brazilian flavors.
The compilation starts with Lerma dela Cruz, a quite occult songstress from Philippines. “Free” was part of a very rare compilation titled “Tropical Jazz Fusion”, released in 1983 on A&W Horizon label (also home of Boy Katindig). With its blowing Samba / Jazz-Funk vibes, it was an obvious match to open this collection. The following song could only enhance this ambience, since that of Brazilian saxophonist, Nivaldo Ornelas, present on this opus with 2 titles taken from his album A Tarde (1983). On “Cactus”, Nivaldo is supported on keyboards by his friend Marcos Resende, both also known for their album on the MPBC series released by Phonogram-Polygram between 1978 and 1981, which has clearly been an inspiration for Charles Maurice in building this second edition.
We could continue telling stories and details about the others great tracks included in Fusion Global Sounds Vol.2, but we believe that the best way is to listen to it and pursue your trip through Fusion Jazz combined with Brazilian styles, including surprising stopover in Poland, or Netherlands.

Expedition is a collaboration between sound artist The Dead Mauriacs (aka Olivier Prieur) and collage artist Evan Crankshaw, based on their mutual interest in treating exotica as both a subject and a material. Evan Crankshaw's 2015 collage book, also entitled Expedition, is assembled and collaged by hand from a vast archive of popular exoticist printed materials, and explores recurring motifs in expedition narratives, simultaneously evoking and alienating the exoticist fantasy.

In 2018, the book was interpreted for a live performance at Festival BBMix (Boulognes-Billancourt, France) in collaboration with The Dead Mauriacs, who created a complete exotica-concrète score accompanying projected images of the book & live narration. That collaboration can be heard on this album, an armchair-travel virtual-voyage to the heart of an imagined actual elsewhere, stitched from pieces of narcotizing fabulisms, disturbing actualities, and incomprehensibilities – an interior excursion into the exotic immensity.

Hollywood Spritz is a soundtrack to a police television drama from the '70s that doesn't exist, including a Jazz Funk rework of the Charlie's Angels theme. Italian DJ, composer and producer Federica Grappasonni, aka Mistura Pura, looks to the 70’s Golden Age of Hollywood TV and the accompanying music for inspiration.

Combining Jazz, Funk and Latin elements with Afro percussion, Mediterranean harmonies, minimal electronic effects, Hip Hop and Nu Jazz beats, Mistura Pura focuses her sound on the "action" element from these ‘70s soundtracks: scenes depicting danger or tension but also making sure to round it out with moments of love and fun. The presence of percussion in all the tracks with Afro, Latin American as well as Middle-Eastern and Hawaiian polyrhythms round out the album’s edges giving it a languid feel. "Hollywood Spritz" with it’s abundant Latin vibes would be a perfect accompaniment to a police drama set in LA, New York, Miami or any major metropolis with a vibrant Latino community. Another important aspect contributing to this musical work comes from Federica’s extensive, decades-long experience as a DJ digging and spinning rare grooves from Be Bop, Funk, Soul and Bossa Nova. Her familiarity and connection with notable players in the scene gave her acces to record with a talented group of musicians such as pianist Jessica Lauren (Hollywood Spritz, LA Sound 1976, Nuevo Jungo) known for her work in the London Acid Jazz scene, Cuban multi-instrumentalist Lorenzo Patrix Duenas (Looking For The Angels, Intro - The Angels Connection, Charlie’s Angels Theme), Italian Jazz pianist Alessandro Gwis (Angels On A Cruise, Jill Is Dancing In The Dark), Mediterranean flutist Carlo Nicita, the king of the Latin rhythms Hector Barez from Puerto Rico, the cool trumpet of Josh Evans (Nuevo Jungo), volcanic percussion work from Gennaro Scarpato (High Tide At Waimanalo beach), Nu Jazz drums from Lorenzo Tucci (Angels On A cruise, Jill Is Dancing In The Dark (with milonga drums)), with the combination of Lorenzo Feliciati (Angels On A cruise) and Marco Siniscalco (Hollywood Spritz) on Jazz bass, oud musician Jean Pierre Smadj (The Arab Connection), and young Italian pianist Alberto Napolioni (Sunset at Venice beach) rounding out the cast.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'.

Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.

'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.

For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.

On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.

* First-time on vinyl * 180g HQ vinyl with faithfully restored original artwork * Heavy tip-on gatefold sleeve * Remastered & cut from the 1st generation Nippon Columbia master tape * Lacquer cut by Kevin Gray at Cohearent Audio

This historic record happened when sax player Steve Marcus, upon visiting Japan alongside Herbie Mann and Woody Herman, accepted an invitation from Inagaki Jiro. It’s an important historical marker not only for Japanese jazz but also for recording in general, since it was the first work recorded on PCM digital audio. Joining in on this monumental session were Inagaki and his jazz rock unit, Soul Media – with a lineup including Masahiko Sato (p, elec. p), Ryo Kawasaki (g), Yasuo Arakawa (b), Hajime Ishimatsu (ds), and Seiji Tanaka (ds). ‘Fairy Rings’, an original track by Sato, boasts a tight interpretation that makes it a highlight of the album. Included as a bonus track is a sprawling, 13-minute long alternate take jazz rock / free jazz rendition of ‘Something’, which was discovered at the time of the 2013 CD reissue.

Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl. “The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright

The edition that marks the start of the brand-new Comets Coming, a label linked to Groovie Records and A Traineira, could not be more suitable: it is that Rodrigo Brandão, like his grandfather Herman Poole Blount, dust of stars that the world knows as Sun Ra, may have his feet on the Earth, but he has definitely a sidereal head.

Brandão arrived recently to Portugal, but already left a strong mark in the most adventurous Lisbon scene, having performed several concerts in which his language has been wrapped in the exploratory sounds of musicians such as Rodrigo Amado, João Valinho, and Hernâni Faustino. The agitator, poet and spoken word artist, brought a vast experience that over the years saw him collaborate with artists as distinct as the members of Metá Metá or Prince Paul (that one!) on Brookzill!.

This work, however, came in his luggage, across the ocean, on the rediscovery trip that brought him from Brazil to Lisbon. Outros Espaço was recorded in São Paulo in late 2019 with a luxury crew: Tulipa Ruiz and Juçara Marçal added to the microphone, Thiago França played flute and alto & tenor saxophones, Guilherme Granado dealt with the synthesizers and effects, Marcos Gerez measured the overall pulse with his electric bass, Thomas Rohrer played soprano and 'rabeca' (fiddle), and Paulo Santos dealt with the percussion. In addition to the base band, Outros Espaço also features some members of Sun Ra Arkestra's current incarnation. Respectively: Danny Thompson (rip) on baritone and bongo, Elson Nascimento on 'surdo' (tom drum), Knoel Scott on tenor and soprano, with the giant Marshall Allen in a prominent role leading the collective towards the unknown, while playing the alto sax and synthesizer.

In Outros Espaço, Brandão reaches for words from different origins, from contrasting times and cultures, all with magnetic resonance imaging: what is not from his furrow comes to him from Candomblé (“Quando Os Orixás Desfilam Sobre A Cracolândia”), from his readings of Sun Ra (“Eu Sou 1 Instrumento” is an adaptation of the poem I Am An Instrument), or from the school's playgrounds (“Jamais Nos Esqueceremos”). And in these words there are teeth and nails ingrained in injustice (“Quantos Coltrane...?, “Todo o Dia Tem +”) and kaleidoscopic delusions that result from the speed of light (“Sol da Meia Noite”).

The crew that travels through these Outros Espaço (PT for "Other Spaces") has freedom as the main fuel, jazz as a measure of their reach, and all swings in the world as maps, so they can lose themselves at the end of the cosmos. There is urgency and reflection, craziness and precision, surprise and well-known ancestral raw material, that makes us vibrate inwardly with the same trembling as the comets that are coming.

The visionary and veteran Scotty Hard was responsible for making everything sound like the music of the spheres, dealing with the mixing from his Inguasonic Sound studio in Brooklyn, NY.

And lastly, in January, Rob Mazurek, another frequent ally of Brandão, another notorious space traveler, offered a poem that frames this project. Among other things, he writes:

Make this place sing Make this place thunder Make this place shake

It couldn't be in any other way. Brandão: Outros Espaço (Text by Rui Miguel Abreu)

On their latest album, Laughing Bastards prove they are a quintessential Belgian band - soaking up sounds and influences from all over the place while maintaining a tight unity - with an international appeal.Combining jazz and chamber music with ideas from pop music and multi-colored strains does not only give their music an iridescent edge, but also keeps the interplay fresh and inspired, something to return to while waiting to see them live on stage.

Ever since their auspicious beginnings, more than a decade ago, Laughing Bastards have giddily delighted in impurity. Initially a reeds-guitar-bass trio modeled after the classic Jimmy Giuffre 3, the band has remained truthful to its original spirit. Saxophone player Michel Mast and guitarist Jan-Sebastiaan Degeyter have remained its core, but the band went through several permutations, first welcoming Eline Duerinck (cello) and Marcos Della Rocha (for Unanimal in 2019) and solidifying its present-day line-up with bassist Cyrille Obermüller.

Bastards. It's kind of a rude word to throw around carelessly, but there has always been that element of being irregular, being too stubborn to comply with what is expected, that has set them apart. This is nowhere more evident than in the material contributed by Degeyter, who wrote more than half of the album's compositions. A talented illustrator and designer (he created a few of their striking album covers) as well as a versatile guitarist, Degeyter always manages to add a strong visual component to his material. In combination with his knack for pulling exotic influences into the band's overall sound, it leads to a playful, cinematic eccentricity.

"Tigraman" and "Black Spoon" are examples of this. Both are infused with an Ethiopian-tinged sound, but while the first one develops the catchy throbbing of a trance-like soul/rock tune, the second exudes the lush cadence of Golden Age Ethio jazz, the kind that gets under your skin with those sensual, irrepressible rhythms. They are a nice match with the increasing drama of the Slavic-tinged "Red Lemon", the slow, dreamy flow of the Jamaican dance hall-inspired "Sand", a strong feature for Duerinck, and "Dosi", that shows Obermüller's knack for propulsive melody.

The synesthete in Degeyter gets free reign in "Calliope", chamber jazz in which sweeping sax and cello are kept grounded by guitar, bass and drums. Mast's odd meter-song "Fetish" is another showcase for the band's effortless dancing and some gorgeous tenor schmooze. Della Rocha's "Turquoise" starts off in brooding, contemplative way and keeps simmering on a low, glowing fire. To top it off, there are a few covers that remind you of the band's origins. A new take on Giuffre's rootsy "The Train and the River" stresses their loose flexibility with an Americana style somewhat reminiscent of Charlie Haden, while Carla Bley's evergreen "Vashkar" gets a carefully constructed makeover to close out the album with grace.

On their latest album, Laughing Bastards prove they are a quintessential Belgian band - soaking up sounds and influences from all over the place while maintaining a tight unity - with an international appeal. Combining jazz and chamber music with ideas from pop music and multi-colored strains does not only give their music an iridescent edge, but also keeps the interplay fresh and inspired, something to return to while waiting to see them live on stage.

“Francesco Sotgiu has forged a unique and very swinging project of songs. WIth a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to wich Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.” This is the comment of Gil Goldstein, American accordion player who won 5 Grammies and collaborated with giants such as Gil Evans, Wayne Shorter and Michel Petrucciani. This record was recorded in the middle of the pandemic times and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of "phone rehearsal" of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones. This is why "passing", literally "passing" or "crossing": because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation and deep spirituality. In the classic Caravan by Ellington and Tizol or Afro Blue by Mongo Santamaria, Coltrane toning, the latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede. A certain elegance in the execution distinguishes pieces such as Duke Ellington's Sound OF Love, yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal Take Five by Paul Desmond, with the highlighted soprano by Cisi, Wishes, 7th Street and the eponymous Passing, all pieces composed by Sotgiu, characterized by the precise medium / fast drive of the drums and a certain "cinematic" taste of the main themes. In songs such as Black Bats AND Poles, composed by trumpeter Jack Walrath for the Mingus orchestra, and in Stranatole, an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional "anatole jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede's solo, while in Coltrane's Wise ONE and McCoy Tyner's Ballad FOR Aisha we enter a modal, mystical and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations. A special separate mention for two classics such as MY Foolish Heart by Victor Young, performed in trio by Sotgiu, Maiore and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) Lotus Blossom by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old fashioned Italian musical sensitivity, typical of Nino Rota's music for Federico Fellini’s films.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard
1. QUE Beleza - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)
A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche
2. ON A Summers DAY - Archie the Goldfish -
A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)
3. ENI Agee - Cubafrobeat -
Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.
4. Harmoniuzinho - Lokkhi Terra
Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.
5. Kande Revisited - Lokkhi Terra
This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".
6. Nuoracle - Justin Thurgur
Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.
7. EU Topo - Beiju
Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .
8. Shadho KI RE Amar - Shikor Bangladesh All Stars
Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

Every person we meet, every moment we live through, all the love we feel, and the losses we endure, add another layer to the intricate pattern of our lives. Like multicolored threads, these layers twist together to form a complex, vibrant tapestry — a reflection of our life journey until this point. On his new album Layers, Khalab acknowledges and celebrates the encounters that have shaped his ever-evolving musical vision. The record, out on August 25th with his own Hyperjazz Records, represents the culmination of a creative journey that began with his Eunoto EP (Black Acre Records, 2015), evolved with the Afro-Futuristic soundscapes of 2018’s highly acclaimed album Black Noise 2084 (On The Corner Records/!K7), and has since developed further through a series of experiences and deep musical collaborations. Layers summons all the alchemy of Khalab’s live performances, and embodies the transcendental power of music making as a collective art form. Over the past five years, Khalab has shared the stage at Italian and International festivals with many exceptional musicians, an experience which has sharpened the musicality of his compositions and enhanced the depth and complexity of his sound. “Since the release of Black Noise 2084 I’ve increasingly developed the stage and band dynamic, focusing on arranging with the musicians in mind, and this album was almost entirely conceived together with musicians I’ve collaborated with” says Khalab. In a testament to the label’s close-knit and highly collaborative nature, Khalab's live band includes a cadre of musicians from the Hyperjazz family, including David Paulis and Enrico Truzzi of Phresoul, as well Pietro Santangelo, Fabio Sasso, and longstanding creative-partner Nicola Guida. The album’s nine tracks feature an impressive lineup of collaborators old and new, including UK drummer and producer Emanative, Burkinabe singer, guitarist, and m’bira player Gabin Dabiré (passed away a few weeks ago), Italian producer Clap! Clap!, multi-wind instrumentalist Tamar Osborn, drummer and producer Tommaso Cappellato, British-Bahraini trumpeter Yazz Ahmed, Bristol’s vocalist and producer Grove, multi-instrumentalist Tenderlonious, Italian jazz singer Alessia Obino and British-born Nigerian spoken-word artist Joshua Idehen. Layers still revolves around the key components of Khalab’s sound — dark and trancey electronics and his research into Black music and all its evolutions — but with a bigger emphasis on harmonic arrangements. Across the album, Khalab’s productions twist and pulsate into mesmerizing motifs, as the interplay between different instruments coalesce into focused melodies and rich, complex textures. Khalab and his collaborators masterfully blend gloomy and radiant tones, eliciting feelings of both doom and hope. The album will be preceded by three lead singles: “Layers” feat. Joshua idehen, “Tunnel Of Jealousy” feat. Lady Blue Eyes, and “Female Side” feat. Tommaso Cappellato.

For Khalab, Layers represents the end point of a journey that began with the synthesis of ancestral rhythms and electronic experimentation on Black Noise 2084, and has taken him on a meandering route through a Mauritanian refugee camp (M’berra, Real World Recordings, 2021), and deep into the catalogs of legendary Italian labels Soul Note and Black Saint (for the Hyperituals compilations, released on his own Hyperjazz label). In Khalab’s own words: “For me this feels like coming full circle, because everything will be more experimental going forward”. Credits All tracks written & arranged by Khalab Produced by Khalab & DJ Knuf With the vital contribution of these amazing musicians: A1. Yazz Ahmed (flugelhorn, trumpet), Alessia Obino (voice), Nicola Guida (synths), Fabio Sasso (drums) A2. Emanative (drums), Tamar Osborn (baritone saxophone), Grove (lyrics, voice) A3. Lady Blue Eyes (voice) A4. Cristiano Crisci (synths), Pietro Santangelo (tenor saxophone) A5. Joshua Idehen (lyrics, voice), Cristiano Crisci (additional synths) B1. Tommaso Cappellato (synths), Enrico Truzzi (drums), David Paulis (electric bass), Cristiano Crisci (additional synths) B2. Gabin Dabiré (voice, m’bira) B3. Tenderlonious (flute) B4. Magnus PI (percussion), Alessia Obino (voice), Pietro Santangelo (tenor saxophone), Enrico Truzzi (drums) Mix by DJ Knuf at Studio 33, Rome Remix by Khalab at Studio 33, Rome Megamix by Satori Stereo Saiyan Mastered by Frank Merritt at The Carvery, London Visual project design by Marco Klefisch