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Cover has small seam split.

Soul Jazz Records' new ox-blood red Colored Vinyl limited-edition 1000-copies worldwide LP (+ download code) issue of this very rare deep spiritual jazz album, first released as a private-press album in 1970 on flautist Lloyd McNeill's own Asha Record label in Washington, DC. Lloyd McNeill is an African-American flautist, painter, poet, and photographer born in Washington, D.C., in 1935. His multi-disciplinary creative life led to encounters and friendships with Nina Simone, Picasso, Eric Dolphy, Nana Vasconceles and other legendary cultural figures. Lloyd McNeill's hypnotic 'Washington Suite' was originally commissioned as a piece of music for the Capital Ballet Company, in Washington, DC.

Wewantsounds is delighted to announce the first-ever release 'Sunrise From West Sea', a mesmerising performance by Stomu Yamash'ta accompanied by Jazz pianist Masahiko Satoh (well known for his involvement in the New Herd Orchestra and his 'Belladonna of Sadness' soundtrack) and Taj Mahal Travellers founder Takehisa Kosugi on Electric Violin. The line up, also comprising Hideakira Sakurai on Electric Shamisen, is a spaced-out improvisational soundscape over the two LP sides. Remastered from the original tapes, the album is reissued here for the first time ever on LP and CDd. The LP comes in its beautiful original gatefold artwork with OBI strip, 2 page insert and a new introduction by journalist Paul Bowler. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Born Tsutomu Yamashita in 1947 in a musical family (his father was the conductor of the Kyoto Philharmonic), he studied at Julliard and Berklee in the 60s where he honed his skills as one of the most gifted percussionists of his generation, playing both modern classical music (Cage, Morton Feldman, Toru Takemitsu...) and improv jazz. In New York, he witnessed the birth of the New Thing revolution led by John Coltrane which had a profound effect on him and decided him to go to pursue his studies at Berklee in Boston. There he met fellow Japanese musician Masahiko Satoh who was also studying there. Their friendship led to the recording of the landmark album Metempsychosis for Nippon Columbia a few years later. The album released in 1971 consisted in a "composition for percussion and jazz orchestra" that mixed Yamash'ta percussion and Satoh's piano playing with the full-on sound of Toshiyuki Miyama's New Herd Orchestra in a groundbreaking free improvisation. 1971 was also the year Yamash'ta released his highly-acclaimed 'Red Buddha' solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, The all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. ?Edited down to fit two sides of an album that will become 'Sunrise From West Sea', the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. ?Later known for his involvement in soundtracks for Robert Altman's 1972 film Images - collaborating with John Williams - and Nic Roeg's 1976 classic 'The Man Who Fell To Earth,' and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in 'Sunrise From Red Sea' again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionising the Japanese music scene. Wewantsounds is pleased to reissue this key album which had oddly never been reissued in fifty years.

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.

Sticker on front.

To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. (Jérôme "Kalcha" Simonneau)

Includes OBI and insert.

"A DAY OF THE Sun" is a spiritual jazz masterpiece full of poetry by two geniuses of the Japanese musical scene. Masahiko Togashi and Isao Suzuki, pivotal figures in jazz with a unique talent and sensitivity that transcends conventional jazz forms and styles. In addition to being skilled performers they demonstrate extraordinary compositional talent that transcends their sensibilities and wisdom of more conventional jazz. They are together a wonderful combination of techniques, but without the eyes and ears of these two artists, the mutual understanding, friendship and cooperation that only certain artists are able to recreate together, would never have given rise to this music. The album is based on Togashi's drums/percussion and Suzuki's bass, with occasional changes to cello and piano/synths, and is skillfully performed by just the two of them, creating a unique worldview; a performance that far exceeds expectations. The mystical melodies of the East, earthy percussion, and the sensibilities of the two intertwine to create a unique groove, resulting in a universal masterpiece that will never fade away and connects with today's sound makers and DJs. Top sound quality from original master tapes. Includes 4-sided insert with a very interesting interview at the time with the two musicians regarding the record. Masahiko Togashi: Snare Drums, Tom Tom Set, Melody Tom Set, Bass Drum, Cymbals, Bells, Gong, Cow-bells, Synthetizer, Solina String-Synthesizer Arp Isao Suzuki: Double-Bass, Piccolo-Bass, Cello, A. Piano, Bells, marimba, Maracas, Solina String-Synthesizer Arp

Recorded Feb. 1, 2 & 3, 1979 at King Records, Studio 2, Tokyo.

First ever vinyl reissue of this Spiritual / Modal Jazz private album from 1980, originally released on the RPC custom label from the US. Including top modal tracks like “Do Dat” or “Circles”, the terrific jazz-funk of “Unicorn” and more.
"For The Children" was written and produced by Anthony "Tony" Branker while he was a senior in the Princeton University Department of Music in 1980. It features Branker on trumpet, a young Stanley Jordan on guitar (this is his earliest recorded work), Glenn Cashman on alto, soprano and tenor sax, Gary Monhein on piano, Dan Krimm on bass and Jeff Penney on drums.
Remastered sound, original artwork.

Japanese pressing with OBI and insert.

Japanese pressing with obi.

Moving from the southern African republic of Malawi to London at the age of fourteen, Malia spent her teenage years in the Big Smoke. She has recorded three albums in France with Andre Manoukian: Yellow Daffodils (2002), Echoes of Dreams (2004), and Young Bones (2007) - all originating in Manoukian’s Paris studio.

In 2010 she got to know the Swiss producer Boris Blank, who, since the 80s as part of the avant-garde duo Yello (‘The Race’, ‘Bostich’) with Dieter Meyer, has enjoyed great success. In 2012, Malia published a tribute to Nina Simone, Black Orchid, which won that year’s ECHO Jazz Award. In 2014, Boris Blank produced the eleven electronically shaped songs of her album Convergence.
Malia’s sixth studio album, Malawi Blues/Njira, sees her clear, incisive voice again amplified in a soul-jazz context. ‘A record that I’ve long wanted to make… Right now the time feels right for this… I wanted songs that reflected my awareness and ancestry’, she sums up the vibe of the ten tracks on Malawi Blues/Njira.
The album features thoughtful, mostly slow-paced originals, with sparingly orchestrated piano supported by guitar and percussion, amongst them an almost minimalistic cover version of the classic ‘Moon River’. Right from the outset, Malia with Malawi Blues/Njira looks back to the sound of her childhood.

Trumpeter/ Composer Sefi Zisling incorporates Afro-Jazz with Psychedelic Funk in this new solo project. Sefi is known as the top trumpeter of Tel Aviv's Jazz & Funk scene. While still attending high school, Sefi performed with various funk and groove acts, laying the foundations for many more musical encounters and fruitful collaborations with other members of the ever-growing Tel Aviv music scene. Sefi performed with bands such as The Ramirez Brothers, Kutiman Orchestra, Funknstein, Gili Yalo, and many more. Today, after fifteen years of recording and performing all over the world alongside almost everyone within the Israeli music scene, Sefi is taking a step forward to release his debut solo album.
'Beyond The Things I Know' has been supported and broadcasted by Giles Peterson on his BBC Radio 6 Music Show, by Toshio Matsuraa on Tokyo Moon Radio and many other radio shows around the world. This is another release from 'Time Grove Selections', the unique series under the Raw Tapes Records umbrella, in which top local musicians are hand-picked to produce solo albums. The album itself is a result of a brief encounter that led to a close friendship between Sefi Zisling and multi-instrumentalist/producer, Rejoicer. The music was created in a three-day studio encounter and ranges from Afro-Jazz to spaced-out beats with influences of Spiritual Jazz, African music and Psychedelic Funk, all led by the trumpet. Inspirational album from the realm of incredibly good music.

Hard-hitting Finnish trio Mopo celebrates their 10th anniversary with a special digi EP / 7" single on We Jazz Records featuring three new tracks. "A Night In Zetor" and "Jauzaa" show a new side of the beloved group with extended, slowly building sonic narratives. "Die Mopo" is an upbeat, acid-y slice of the trio's more electronic side. The release sees Mopo reach out for new worlds of sound and as such, it presents a fine culmination of the beloved band's ten years of friendship and music.

The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.

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

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of Badbadnotgood fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall. Two days later an email from Matthew hits Mr Bongo's inbox... "I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared. The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

Black Friday Record Store Day 2020 Release. "January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of Badbadnotgood fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city's brewery and music hall. Two days later an email from Matthew hits Mr Bongo's inbox... ""I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I'd share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out"". The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a one-take improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared. The same quartet feature on Matthew Tavares & Leland Whitty's 2020 album 'Visions'. The plan to promote 'Visions' was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn't happen, but for now 'January 12th' is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game. "

Released in August 2020 to much acclaim, as well as receiving many accolades as one of the best albums of 2020, Duval Timothy present Help (2021 edition).

This new and limited edition will be released independently by Duval Timothy’s Carrying Colour label, fashion brand and shop. It comes on 2 x 140g milky clear vinyl, with new 2 x 12" square posters and shrink-wrapped.

Help was recorded in London and Los Angeles, and reveals the artists' experience traversing the meshes of the music industry, mental health, YouTube self-help videos, and the healing he discovered through friendship and collaboration. Co-produced by Rodaidh McDonald (King Krule, The XX) and Marta Salogni (Bjork), with collaborations from Lil Silva, Melanie Faye, Vegyn, Desta Haile, Mr Mitch, Dave Okumo, and Twin Shadow amongst others.

Duval Timothy is a multidisciplinary artist, whose practise is centred around colour and involves the use of music, photography, textiles, painting, sculpture, design, cooking and video. In between delivering a celebrated cookbook for Penguin Books, and an interactive installation at Tate Modern Turbine Hall, Duval makes music, which is sampled by the likes of Solange and Loyle Carner and collaborates frequetly with cktrl, Vegyn, Kwes, and Mr Mitch.

In 2015, London fusionistas Lokkhi Terra put on a show at Womad and Songlines Encounters festival, where they collaborated withe folk legends from Bangladesh - The Shikor Bangladesh All Stars". The music was based on countless rooftop jams helb back in Dhaka, where Lokkhi Terra had been touring regularly from 2009.
The second in the series of collaborations, this EP takes the iistener back to the beginning, capturing the first musical meetings between both bands. The period when long term Lokkhi Terra collaborator and Dhol Maestro Nazrul Islam (based in Dhaka), introduced his musical inner circle to the visiting Lokkhi Terra musicians. Friendships were forged, and musical conversations were explored. One singer stood out in particular - Dewan Baby Akthar.
Featuring songs by the great Bangladeshi mystics Baul Lalon Shai and Baul Abdul Karim.
"from London's global melting pot Lokkhi Terra joined Bangladeshi musicinas of Shikor for an unlikely but successful fusion that matched Asian influences with Cuban Jazz" The Guardian
180g Vinyl / download

Returning with another debut album for 2021, Music From Memory are delighted to introduce a new band, The Zenmenn, with their first ever release ‘Enter The Zenmenn’. Whilst little about the band is made known, their work is described by writer Winton Rousseauas an “experiment in harmonic convergence emerging from a deep respect for cosmic symmetry and a resistance to the prevailing Zeitgeist.” ‘Enter The Zenmenn’ sounds as old as it sounds new, as organic as it is electric, as harmonic as it is rhythmic, and the album’s fusion of different palettes, colours, tempos, instruments and sources offer a harmonious balance and unity that already feels like the perfect soundtrack to a better world. In a time of what they see as spiritual neglect, it offers a “human kind of stillness” through the “dualistic fusions of complexity and simplicity, mystery and clarity and East and West”. Mfm054 will be released in LP and digital format, comes with artwork by Bráulio Amado, and is expected to be out on April 12th 2021.

By 1991, the world’s most celebrated trumpeter could look back on five decades of musical evolution – his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he’d left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship.



Miles Davis’s lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991.



Miles Davis’ performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, “Penetration” and “Jailbait”. The package features liner notes from music historian, journalist, and producer Ashley Kahn, with art designed by Bruno Tilley.

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

The follow up to 2014's Grammy Award-winning Cheek To Cheek, Bennett and Gaga's latest collaborative album is a celebration of the Cole Porter songbook and a testament to the pair's enduring friendship and love for one another. The announcement of the album coincides with Tony's 95th birthday and two special performances at NYC's Radio City Music Hall, billed 'One Last Time'.

Attn: Contrary to the announcement and the backcover, this record only contains the regular album with 10 tracks instead of 12.

The follow up to 2014's Grammy Award-winning Cheek To Cheek, Bennett and Gaga's latest collaborative album is a celebration of the Cole Porter songbook and a testament to the pair's enduring friendship and love for one another. The announcement of the album coincides with Tony's 95th birthday and two special performances at NYC's Radio City Music Hall, billed 'One Last Time'.

The follow up to 2014's Grammy Award-winning Cheek To Cheek, Bennett and Gaga's latest collaborative album is a celebration of the Cole Porter songbook and a testament to the pair's enduring friendship and love for one another. The announcement of the album coincides with Tony's 95th birthday and two special performances at NYC's Radio City Music Hall, billed 'One Last Time'.

The follow up to 2014's Grammy Award-winning Cheek To Cheek, Bennett and Gaga's latest collaborative album is a celebration of the Cole Porter songbook and a testament to the pair's enduring friendship and love for one another. The announcement of the album coincides with Tony's 95th birthday and two special performances at NYC's Radio City Music Hall, billed 'One Last Time'.

"I was invited to an art gallery in Los Angeles to hear a solo String Bass recital by Stefano. I arrived late and the concert was in progress, I was walking down a series of concrete halls to reach the galley chamber where the music was taking place. In the distance I could hear the sounds of french horns, trombones, strings and brass all mixing in a beautiful modal ensemble, and at the time I thought that Stefano must be playing his bass with a chamber group. I was amazed when I entered the gallery to find Stefano all alone playing his bass ... " - Terry Riley, 1997 Organum for Stefano, the third record that I Dischi di Angelica dedicates to the work of Terry Riley, represents a significant example of “coming full circle”: indeed, in 1997 AngelicA Festival organized a concert in Bologna for Terry Riley and Stefano Scodanibbio – it was their first tour together, and the beginning of a collaboration that would last for years, promoting their first album Lazy Afternoon Among the Crocodiles (aiai 008), recorded in the Shri Moonshine studio in Riley’s home between 1994 and 1995. After his magnificent piano solo at the 2000 edition, AngelicA invited Riley back in 2013 to dedicate a special tribute-portrait to him, presenting his music in a series of concerts held in three different cities (Bologna, Modena, and Lugo), with different line-ups: The 3 Generations Trio (with Tracy Silverman and Gyan Riley, documented on the record IDA 034); the Arte saxophone quartet from Switzerland; and indeed a concert, commissioned as a world premiere, dedicated to Stefano Scodanibbio who had passed away the year before, in January 2012. The venue selected for the concert was the Basilica of Santa Maria dei Servi, hence Riley decided to use its historic Tamburini opus 544 pipe organ for the concert paying homage to the memory of Stefano. The organ was built in 1968 based on a design by Luigi Ferdinando Tagliavini, with a total of approximately 5000 pipes divided into 60 registers – incidentally, this is the same instrument used four years later in 2017 by Francesco Filidei in his duet with Roscoe Mitchell, documented on the record Splatter (ida 040), and in 2019 by Hermann Nitsch on the record Orgelkonzert (ida 045). As Riley himself explains in the liner notes: “I arrived in Bologna with no idea of what I would play, only thinking that I would make this concert a reflection on our deep association, friendship, and music adventures together. I was given a few days prior to the concert to rehearse and compose ideas on the ancient organ. These were magical times for me to also imbibe the resonances of the history of the Basilica and its organ as I composed. Stefano and I had a long history of touring and playing concerts together and one of the features of our concerts was always an arrangement of a vocal raga for bass, voice and tamboura. Stefano, although not trained in Indian Classical music, had an uncanny ear for the right choices in pitch and rhythm to accompany my traditional vocal renditions. Two of Stefano’s favourite ragas were Malkauns and Bageshri, late night ragas with deep feelings ideally suited to the profound sounds emanating from his string bass. The concert was completely improvised, introducing the melodies of ragas Malkauns and Bageshri, both vocally and in the harmonized organ passages of an intuitively structured form. The last section is an improvisation upon the passages of my composition Simply M..., a piece I frequently played for Stefano”. The result was a very precious concert – the only official recording of Riley on the pipe organ – which ranges from minimalism to Indian music, grandiose Bachian architectural constructions, even progressive echoes – in a kaleidoscopic flow of ideas which, both spontaneously and with a great clarity of intention, travels through topical moments and reminiscences of the respective musical identities and experiences shared by the two musicians. Organum for Stefano is release n. 50 by the label i dischi di angelica, which celebrates its 30 years of activity in 2022

Nichunimu is a Chilean improvisational trio working at the edges of free jazz, ritualism, noise, minimalism and krautrock music. Since 2014, Benjamin Vergara (Trumpet), Nicolás Carrasco (Synthesizer) and Matías Mardones (Percussion) have been inspired by repetition, textures and friendship through the sound, focusing on circular shapes in music that bind them together. Based between the cities of Valdivia and Santiago, their members have also collaborated on projects like La Kut, Cariñito 3, Dubitativos, representing a substantial part of Chile’s experimental scene in the last 20 years. On this project, Un Cacho de Metal, Un Resto de Vaivén, which was recorded the day after their performance at Relincha Festival, the trio was again inspired by patterns of circularity and repetition, tending towads sweet sounds like on “Entrechócanse,” darker affect on “Suplidos,” and experimental noise music on the opening track “Cachos.” Their music, eternally youthful, gracefully combines acoustic and electronic effects.

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.

It would appear that Polish jazz is a well-known subject through and through. Dozens of outstanding albums, biographies of the masters, hundreds of journal articles. As it turns out, it is still possible to find music that has been waiting for years to be discovered. On the 80th birthday of Tomasz Stańko, Astigmatic Records presents the first part of Wooden Music, a conceptual project created by the maestro and his legendary quintet, which has been stored in the archives of Radio Bremen for 50 years.

Tomasz Stańko was an exceptional Polish jazz trumpeter. He passed away in 2018, leaving behind a legacy of numerous releases, soundtracks, concert recordings and wild stories involving him. Before rising to the top, he honed his craft alongside Krzysztof Komeda and Andrzej Trzaskowski. In the mid-1960s, he appeared on Astigmatic and Polish Jazz Vol. 4 – the albums that were a creative manifesto for Polish jazz of those years. However, all this time he was constantly thinking about starting his own band.

In 1968 he completed the line-up – Janusz Stefański on drums, Bronisław Suchanek on double bass, Janusz Muniak on tenor saxophone and Zbigniew Seifert on alto saxophone, which he soon replaced with the violin. Stańko classified the quintet's output into three periods. The first, composed, is associated with Music for K, Stańko's publishing debut as a leader, which became a permanent entry in the canon of Polish jazz records. The second period is wooden music – it's the free jazz period, the least known in the quintet's history despite the fact that it spanned more than three years. The third and final period is linked to the release of the band's final album, the cult Purple Sun. However, the entire period between Music for K and Purple Sun is shrouded in mystery, as the band was mainly in Western Europe at the time. In the early 1970s, all the musicians take one-year visas. In between tours they live in Germany: first in a hippie commune in Wurtzburg, then in Darmstadt. They play in clubs on a day by day basis. The quintet is said to be distinguished from other bands by their ability to completely "burn" in the fire of improvisation. They lead their lives as a single organism, touring without wives or girlfriends. The compositions are blurred, the fascination with free music prevails. Short pieces and motives are the starting point for further performance. The ensemble does not plan, they just play. On 28 May 1972 they play at the Iserlohn jazz festival. JG Records would release this performance as Jazzmessage from Poland. The very music recorded there represents what the quintet called Wooden Music.

The foundation of wooden music is the sound of the double bass and the violin, but it soon becomes apparent that all instruments except for Tomasz Stańko's trumpet are wooden. A string orchestra is born, over which the metal trumpet can weave all sorts of hues accompanied by the saxophone. What fascinates the quintet in wooden music is the melody, rhythm and timbre - where these are usually just an element, they fill the entire piece in their case. Bronisław Suchanek, the last living member of the quintet, recalls:

"Wooden music is all about total improvisation. We used to arrive at a gig, start playing without really knowing where we were heading. The only thing that guided us was the common and mental compatibility, understanding, friendship and respect along this musical journey. Music was the first most important element to attribute to – it was free jazz in its purest form. If there are any moments that seem orchestrated it is because we played together for several years, evening after evening, going from club to club. We knew each other better than our parents knew us, we had total trust in each other – that's what made this music exist in the way it did."

To celebrate the 80th anniversary of Tomasz Stanko's birthday, Astigmatic Records in cooperation with Tomasz Stańko Foundation and the Adam Mickiewicz Institute will be releasing two parts of Wooden Music: the first on 5th December 2022, and the second in the first half of 2023. Both albums released by Astigmatic Records add to the little-known history of the quintet, the most important episode in their lives, as the band's musicians used to refer to the late 1960s and early 1970s. Wooden Music I will be released via Astigmatic Records in digital, CD and LP versions; what's more, a limited red vinyl edition including a B2 poster designed by Natalia Łabędź will also be available. The pre-order of the LP will be launched on 4th November 2022.

The compelling sense of vulnerability you get from walking barefoot on the grass connecting with the earth is аn immersive experience. It opens you to the energy within, walking at your own pace, appreciating where you are, comprehending the impenetrable mystery of life within and around you. It settles you into a restful state of mind and expands your awareness.

Recorded live on all analog tape in Hämeenlinna, Walking On The Grass is the first album by Mush Tone Ensemble. There is a sense of elation in this music as the trio search for tranquility in one voice, speaking the unfettered language of everyday realities. It is music played with commitment and unassuming passion.

The spirit of friendship and invention you hear is liberating. Juha Sarkkola plays with an open heart. His bouncy drumming has determination and immaculate attention to detail. Tero Kemppainen's pronounced and submerging bass structures create musical affinity. Tuure Tammi's trumpet and flugelhorn provide pure and naked emotions, melodic and captivating. Together the trio is celebrating the joy of living, of being here on this earth and feeling free, like walking on the grass.

Matthew Putman and Michael Sarian found a home in a makeshift studio, using a borrowed 20-year-old keyboard, a good microphone, and in cramped apartment acoustics, to improvise throughout the pandemic. What they called their “weekly pilgrimages” gave them a sense of much-needed sanity, grounding their friendship and keeping them afloat, as Sarian describes, “much like a lifeboat.” The resultant project was an exploration of cadences, rhythms, and full of searching and synchronicity. This album, A Lifeboat (Part II) follows the duo’s first release, and explores many of the same themes, balancing Putman’s velvety keyboard with Sarian’s character-driven trumpet and flugelhorn. Pressed on crystal clear vinyl.

**Released at select Portuguese stores in a small initial qty - these are the first copies to reach outside the country**

Life has changed in the eight years since the release of II. In ours, yours and Gala Drop themselves. Most times without noticing it, partly due to those two years of a semi-existence that still resonates and with the ongoing predatory gentrification process changing the landscape and life of Lisbon, home to the band since ever. Close to a decade and a half of existence, with various mutations along the way enacting new perspectives and moments of stillness and reflection to a sound that's been mutating itself to its own internal rhythm and agency under the guiding light of the core duo of Afonso Simões and Nélson Gomes. Now a trio, with Rui Dâmaso transitioning from II after the departure of Jerry the Cat and Guilherme Canhão, Gala Drop sound even more focused as a working band, with their new album title Amizade – friendship in Portuguese – making perfect sense in a celebration of their, by now, patented soundworld of cosmic inspiration: krautrock's endless and hypnotic potential, dub's sense of transient space, the throb of house, balearic dreams, polyrhythms and a communal sense of belonging.

Again, this sprawling sphere of influence opens itself to new shapes and inspirations, but there's a deeper sense of accuracy and direction, with the band channeling those legacies into something we can only grasp as the Gala Drop sound. An organic outcome of working steadily as a trio, made possible by a residency promoted by gnration in Braga, Amizade dwells on the psychedelic nature of the group through seven tracks made up of dreamy synth washes, loads of percussion, echoes, chilled guitars under a radiant aura. Gala Drop have never sounded as openly dubby as on 'Dub da Meia Noite' and 'Areal Dub' or capable of converging different tropes of the hardcore continuum – rave stabs and cut up vocals – on a slow burner as memorable as 'Monte do Ouro'. Or given free reign to electricity as on the narcotic guitars of 'Guitarra Voadora' – excepting the one off with Ben Chasny on 2012's Broda. 'Amizade' points towards all of that with comforting escapism and wrapping things up 'Raio' turns dubstep's original bass weight meditations into a cosmic funk workout. One last hug before we leave. An album that feels like a collective moment of celebration, just when we most need it.

Gala Drop are: Afonso Simões - Drums, percussion and synthesizers Nelson Gomes - Electric guitar and electronics Rui Dâmaso - Electric bass & guitar and synthesizer

Recorded by Budda Guedes at Estúdio Mobydick, Braga Mixed by Gala Drop and Hugo Valverde at Estúdio Cão Andaluz, Lisboa Mastered by Anne Taegert at Dubplates & Mastering, Berlim Cover photo by Sara Graça Design by Nicolai Sarbib

180g Vinyl. Earthtones is the musical identity of Serge Bandura, an electronic artist, former jazz musician, meditation teacher and ritualist based in LA. Kevin Nathaniel channels sound as a universal healing force through traditional African instruments and is a former student of legendary master musicians such as Ephat Mujuru and Chief Bey K. Sending files back and forth during the pandemic, the two artists deepened a musical friendship and began a dialog between the Mbira Nyunga Nyunga, the Kalimba and analog synthesizers. Their music is offered in the spirit of peace + healing for all. ‘Of The Earth’ (Full Meditation) is 21 minutes long and the B side offers 25 minutes of music.

KAU (previously KAU trio.) is an instrumental trio based in Brussels. Representing various European backgrounds, the Belgian capital and melting pot proves to be a never ending source of inspiration for the band. Taking influences from jazz, groove and dance music, their aim is simple but straightforward: to make your heads bob. The formula they use to do so has been the same since their early days: improvisation, never ending jam sessions and an open-mindedness towards various genres and styles. This gives their music an organic and vibrant feel. Furthermore, the three boys' long-lasting friendship is at the heart of it all, always relying on what brings them together: their love for music. The KAU cycle is bound to repeat itself and to birth something new - over and over again.

"The Cycle Repeats" is KAU's debut album, due on September 22 on Sdban Ultra, the home of Echt!, Black Flower, Glass Museum, Stuff. and more. It represents a milestone in the band's musical journey: it's their firm decision to present a strong and unified trio playing music that stands out through the combination of 80's synths, acoustic drums and electric bass. Moreover, the album succeeds in capturing the energy of their infectious and legendary live shows.

Highlights are album opener "Kampala", which has a throbbing bassline, jazzy synths and heavily modified arpeggiators at its core. The album's first single "Little Steps" starts with a strong hip hop groove, morphing into Herbie Hancock-style chords. "Amulet" is inspired by breakbeats, fast paced grooves and pentatonic bass lines. Both "Kautokeino" and "Alaska" are an invitation to travel to the utmost remote places of this earth, using intense sequencing and suffocating subbasses into an epic finish, probably demonstrating the trio in its most sincere form.

In short: with André Breidlid on drums, Matteo Genovese on bass and Jan Janzen on synths, KAU are a trio of childhood friends with a pan-European identity, whose music reflects the city they grew up in: unapologetic, richly diverse and with a spontaneous groove underlining it all. With their new album "The Cycle Repeats" they directly aim for your dancing shoes and souls.

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

Jakob Dinesen, Anders Christensen and Laust Sonne are three heavyweights of Danish music, united by their all-embracing approach to music making. Their careers have seen them involved with household names of contemporary jazz including Aaron Parks and Kurt Rosenwinkel, afrobeat legend Tony Allen, popular Danish stadium rock band D-A-D and everything in between. A followup to their 2021 release "Blessings", their raw, live, chord-less trio record "Moonlight Drive" is set to release on September 8th on April Records.A coming together of Scandinavian jazz, the avant-garde, chamber music, and rock and roll, Moonlight Drive"s intriguing sound separates the essence of what jazz is from its cliché"s and idioms to create something truly different. The ensemble"s laid back, simplistic, and yet completely immersive playing style is full of groove, lyrical melody, rich harmony, and texture, all without the inclusion of a harmony instrument such as the piano or guitar. Evolving from intimate sparseness and comfort to energetic improvisations that challenge the listener with tension and atonality, what is ever apparent is that these are musicians that play to serve the music, not their own egos. With compositions from each member of the three piece, the record is a collection of musical statements and wordless stories that pay tribute to their greatest muses and strongest relationships. Through "Ingrid" Christensen encapsulates his deep love for his Grandmother, "Yahya" is Dinesen"s tribute to Danish poet Yahya Hassan who tragically passed away too soon, "Aveny T" is Sonne"s musical reminiscence of a performance in Copenhagen"s theatre by the same name, while the final track "New Beginnings" is an ode to the bonds of friendship between the three musicians.

German jazz singer with Belgian roots Sophie Tassignon has built up a solid reputation in Germany. She has a whole series of well-received records to her credit, which not only showcase her musical versatility but also demonstrate what an incredible vocalist and composer she is. Sophie is a musical chameleon, constantly seeking to challenge and renew herself.

When the refugee crisis erupted and millions of Syrian refugees flocked to continental Europe in search of a better life and safety, it resulted in a lot of fear and opposition from the European population. The perception on refugees is often very negative and creates divisions on the political field.

When a shelter was started up two blocks from Sophie's home in Berlin, she decided to help and take care of some refugees. To get a better understanding on the culture and stories of those people and to bridge with our culture, she decided to study Arabic. Meanwhile, we are more than five years on, and not only is she proficient in Arabic, but she has also gained a better understanding of the culture and customs of the Arab community. Friendships for life were formed. She decided to incorporate Arabic into her own musical language - jazz - fusing two worlds. From this was born the project and the eponymous record "Khyal. The word refers to the imagination and is literally translated as "remembering and/or longing for something from the (distant) past." With this project, Sophie especially wants to encourage tolerance and acceptance towards people regardless of their cultural background or religion and show how intercultural interaction can lead to very beautiful and artistic results.artwork &

Madlib and Karriem Riggins are Jahari Massamba Unit, a collaboration between two beacons of modern music joined by an unwavering passion for pushing the boundaries of traditional music. Beginning as a genuine friendship and mutual admiration for one another's craft, Jahari Massamba Unit became a project with no rules or guidelines. The result is an extraordinary fusion of creativity, an embrace of artistic freedom, and a testament to what music can be when given the chance to roam beyond convention.

In 2020, poet and singer Julia Werup (b.1987) broke new musical ground on The Thrill Of Loving You, her official debut as a jazz vocalist. Now, for the first time, a new album of original music is ready to share with the world. Her new release, Dear Frances, showcases songs written by Julia and producer, drummer (and husband) Thomas Blachman.

Dear Frances features the same lineup from Werup's previous release but pivots away from well-known jazz classics, instead presenting original material penned by Julia and Thomas - a multi-talented creative power couple. The dark sound her previous albums embraced is now to some extend replaced with something lighter, brighter, and more optimistic. Werup attributes the change in energy to the circumstances under which the album was conceived. The concept of 'conception' is relevant throughout the album, on multiple levels, as she was pregnant during the creation of the music and album. This life experience changed her both personally and musically.

Sampled elements dance with acoustic instruments as they weave in and out of Thomas Blachman's expressive, bass-focused arrangements and production, supporting the tonal elasticity of Julia's voice, which can at times be reminiscent of Miles Davis shaping his notes with his Harmon mute.

The songs on the new album swing elegantly between experimental vehicles like Rain and Time Of Life and more accessible modern jazz tunes like Together and Just Let Him Know You Love Him. Time Of Life finds Julia and Thomas in collaboration with Swedish star producer and musician Andreas Kleerup. And Werup, with permission from Leonard Cohen's family, has beautifully set music to Cohen's text, Just Let Him Know You Love Him. Three singles were released in advance of the release. No More Fuss is a romantic, nostalgic and jazzy modern pop song that points to the past and the future. Broken Mind is a song about friendships falling apart and disappearing into music as a spirit-capturing vessel. An accompanying music video for Broken Mind was also released, produced by Daniel Buchwald. Thomas Blachman describes Bird, the third single: 'Bird is an original song by Julia. It’s cool, it’s cross-over, but don't try to categorize it - just feel it. Bird is a blend of jazz and pop about flying high into the unknown. Love is no bird. Music is a bitch, and it's hard work.'

Brasil, the new album by Lee Ritenour and Dave Grusin is a showcase for the unique talents of two of the most successful and influential musicians of their generation. It has been an enduring friendship and collaboration, from playing the famed Baked Potato in Los Angeles in the 70s, to collaborations on Dave’s records and films and Lee’s albums, plus years of touring together on the biggest stages.

Guitarist Ritenour and pianist Grusin began their fervent involvement in Brazilian music half a century ago. And, as boldly demonstrated on Brasil, their new studio recording in several decades dedicated to the genre, their passion remains unabated. Brasil is a bracing survey of contemporary Brazilian sounds featuring some of that country’s most notable young musicians. Also spotlighted are the talents of Swiss born harmonica ace Grégoire Maret and Brazilian vocalist and composer Ivan Lins, whose album Harlequin with Ritenour and Grusin won a Grammy® Award in 1986.

Ritenour and Grusin have made an indelible mark in the music industry. With the release of Brasil, they continue to exemplify how their longevity and success is tribute to their ability to stay on the pulse of the music scene today. “Brazilian music continues to permeate the world,” Lee observes. “So, now was the right time and inspiration to go to Brazil and do this recording.” And their musical magic continues!

Let us not forget those who sacrificed their lives in order to offer us freedom and a beautiful existence. With Bulaga, his 4th album, Alimé Bébégué continues his great adventure with his audience. In this new project, he surrounds himself with: Aurélie Carrilho on vibraphone and Ombe Monkama Yves William on percussion.Through this album, he gives himself the opportunity through the majority of the songs to express his gratitude to his ancestors and some figures who gave their lives for our current freedoms. Also, he celebrates friendship and encounters of other cultures through the piece Bugulé in which he honors Brittany.With five instrumental tracks, and four others with lyrics, this project is resolutely oriented towards less text but not less expression.They are three musicians to have recorded this album with a groove and an incredible energy. The beautiful melodies are sources of inexhaustible emotions. This composer takes us with him ever further in his writing and compositions.This album and its multicolored jazz is an invitation to travel, to the dance of the spirit and of the body.

We Will Be Wherever The Fires Are Lit, a sort of sequel to Tashi"s first DC release Stateless, takes the torch and storms forward, with ten improvised acoustic guitar anthems. These musical thoughts are torn from the fabric of Tashi"s life and music. "Strumming in opposition to the towers" (as he puts it) is part of an existence that is always political, even in its most abstract iterations - a truth laid bare in these deep, raw performances.

we will be wherever the fires are lit, a sort of sequel to Tashi"s first DC release Stateless, takes the torch and storms forward, with ten improvised acoustic guitar anthems. These musical thoughts are torn from the fabric of Tashi"s life and music. "Strumming in opposition to the towers" (as he puts it) is part of an existence that is always political, even in its most abstract iterations - a truth laid bare in these deep, raw performances.