Search "the+soul+session+one" 553 Items

Release: 2024 / EU

Genre: Organic Grooves

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Dionisio Ramon Emilio Valdés Amaro, better known as Bebo Valdés, was born in Cuba in 1918. He is considered one of the pivotal figures in Cuban music. Trained as a pianist, he also became a master arranged and conductor and worked with figures like Olga Guillot, Celia Cruz or Elena Burke. A trip to Haiti in the 1940s arised his interest in African rooted music, and on his return in La Havana, performing at the legendary Tropicana cabaret under the direction of Armando Romeu, he started including these rhythms in his sound becoming a prominent figure in Afro-Cuban jazz. He worked with big names like Joséphine Baker and Nat King Cole. He had been playing for ten years at the Tropicana when a bomb exploded very near his piano in the middle of his performance, he nearly died. He quit the Tropicana and benefited of the rising of television broadcast in the 1950s, getting even more fame in several Cuban TV shows until 1958, when he emigrated to Mexico first to finally set in Sweden, were he has Paramount in establishing a world taste for Afro-Cuban jazz. His career saw a big rebirth when in 1994 he teamed with saxophonist Paquito d’Rivera and, in a more mainstream way, with Fernando Trueba’s Calle 54 movie. He had kept busy since then until his passing in 2013. he is acknowledged as one of the originators of Latin Jazz and Afro-Cuban music.

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Anibal Velasquez

En Tremenda Salsa

Release: 2023 / EU – Original

Genre: Organic Grooves

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Super heavy mix of descarga, salsa and boogaloo by accordion virtuoso Aníbal Velásquez, done in the "salsa con acordeón" style, featuring hot piano and timbales, yet played with a uniquely Colombian flavor.Recorded with fantastic production quality, this replica LP contains 8 hard-hitting dance floor bangers plus 2 bonus cuts including the 1972 version of 'Mambo loco', making this an essential addition to your Discos Fuentes collection.First time reissue. 180g LP.Aníbal "Sensación" Velásquez is one of Colombia's most innovative and prolific Costeño musicians, known as "El Mago del Acordeón" and "El Rey de La Guaracha". Velásquez grew up hearing Cuban music as well as the local rhythms of his region, and this led him to tinker with and transform the beats and melodies of the regional music encountered in his home city of Barranquilla during the 1950s and 60s.By 1960, after being a sideman in several groups, Velásquez formed his own conjunto with his elder brother Juan, a talented musician in his own right, and his younger sibling José."Aníbal Velásquez en tremenda salsa" is a perfect example of the musician's wanderlust and restless creative spirit. A pioneer of the adventuresome mixing of rhythms, genres and styles that was happening at the time in Barranquilla and the rest of coastal Colombia, in retrospect one can say that Velásquez was quite daring in combining the music and instrumentation of his native country with other Caribbean forms. In 1968, when he made this album, very few Colombians were attempting to record an accordion-led session of descarga, guaracha, boogaloo, guajira, guaguancó and mambo, and for that we should recognize Velásquez as a forerunner of various other records by Lisandro Meza y su Combo, Los Corraleros de Majagual, Los Caporales del Magdalena and Chico Cervantes y su Conjunto Internacional.The album kicks off with an intense and mesmerizing descarga featuring the guaguancó bass line, hot Cuban style piano and a heavy timbales solo, reminding one o...

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Alex Rodriguez

Busqueda

Buenos Dias Juventud Record Store Day 2023 Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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First time vinyl reissue of this awesome 1978 Latin jazz-funk gem by Venezuelan guitarist Alex Rodríguez, featuring top musicians like Jorge Dalto, Nené Quintero and George Benson's band members Dennis Davis and Stanley Banks, among many others.Originally self-released and distributed in tiny quantities, "Búsqueda" has reached grail status among collectors worldwide. The album contains quite a few heaters for the dance floor, like 'El Mercado', and tight, keys and guitar punctuated fusion jams! (just check the groovy opener 'Cumana'.)Rodríguez is a classical and jazz trained guitarist who in the early days of his career joined some of the best orchestras in Venezuela, including Aldemaro Romero's Onda Nueva. He put together a brief project, La Retreta Mayor, in 1976 which only released one album and would later move to New York where he had the opportunity to record his own songs with renowned musicians of the city at that time, like Víctor Paz, Charlie Camalliari, Sam Burtis, Mario Bauza, Guillermo Edgil, Bernard Purdie, Jorge Dalto, among others.It took him a little more than a year writing the songs and preparing the material for "Busqueda" but in 1978 Alex Rodríguez would return to New York City. Jorge Dalto had spoken with Dennis Davis (drums), Stanley Banks (bass) who played together with George Benson, and Víctor Paz contacted Alex with Ronnie Cuber (saxes), an excellent saxophonist, who later recorded 'Cumana' on his own album "The Eleventh Day Of Aquarius".Before going to the recording studio they did a rehearsal to review the music, and the next day Dalto, Banks, Davis, Cuber and Alex Rodríguez were recording in the CBS studio on 52nd street in Manhattan.The production and mixing of the album were finished in Caracas, at Sono 2000 studios, with the participation of excellent Venezuelan musicians such as Nené Quintero, Lucio Caminiti, Edgar Saume, Carlos Acosta, Alberto Naranjo, Rolando Briceño, Leo and Frank Quintero, among others. The resulting album contains quite a few...

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El Zigui Y Una Luz

LP | 1972 | US | Reissue (Munster)

LP | 2022 | EU | Original (Elpalmas Music)

Release: 1972 / US – Reissue

Genre: Organic Grooves

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One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album in 1972. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists "Una Luz", and "El Zigui" who was once described as the local Bob Dylan. Latin, Psych, Folk - First time reissue, 180g LP, RSD exclusive release, 500 copies ww.

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Moncho Y Su Banda

Que Bellas Son

LP | 2022 | EU | Original (Vampisoul)

Release: 2022 / EU – Original

Genre: Organic Grooves

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El Palmas Music to reissue incredibly hard-to-find album by Venezuelan salsa bandleader and polymath.

Few artists worked as hard at their craft as Ramón Urbina. At the age of 15, and in thrall to the Latin jazz and tropical music he was hearing on the radio, he learnt to play tres guitar. Then he learnt bass. Then percussion, tumbadora, timpani drums, trumpet, trombone, piano, whatever instrument he could get his hands on. A true enthusiast and student of all the tropical music that was percolating through Venezuela and the rest of Latin America at the time, he wanted to understand the art of composition and arranging, and around 1972 he decided to put it to the test, forming his first group, Ramón y su Banda Latina. Taking inspiration from salsa ensembles like Sexteto Juventud, as well as Pastor López, a Venezuelan singer and bandleader who was having huge successes in Colombia for his mix of cumbias, guarachas and boleros, Ramón’s group toured throughout Venezuela during the 1970s. Then one day, he went to see La Dimensión Latina in his home town of Charallave, and he saw the future. The age of salsa with its multi-trombone sound was here, and he wanted to take part, recruiting new members to form Moncho y su Banda. After road testing their material, the new group was ready to record an album in 1981, but finding a record label was not easy. Ramón loved music but he was a homebody too and spent most of his time in Charallave, at a distance from the thriving music scene in Caracas. This, combined with the fact that he’d yet to record an album and create any kind of international reputation meant that he initially struggled to find a label. “God help me, even if I have to pay myself, I’m going to record my album”, he said at the time. Despite no guarantee of any album being released, Moncho y su Banda stepped into a recording studio and didn’t rest until they’d got what they wanted. Those who were there remember a feeling of being at a party, hanging out with family and friends, and dancing all night. After realising they’d forgotten to eat at a session, one of the group’s singers, Eduardo Fernandez, ordered a bottle of sambuca, and just like that they kept on recording, without pause, albeit with extra spirit. Once record label executives finally heard the album, titled Qué Bellas Son (How Beautiful They Are), they couldn’t resist its energy and a release date was set. It’s an album that captures the sound of a working band at ease, playing the kind of set that they would be knocking out at clubs around Venezuela at the time, full of life and passion. Whereas a formulaic salsa sound was forming in the early 80s, Moncho y su Banda bucked the trend, playing a mix of raw, unbridled salsa dura, as well as cumbias, merengues, boleros and chucu-chucus, all with a heady dose of Caribbean spirit that sets the group apart from the more urbane salsa ensembles of the day. Qué Bellas Son is the only album that Ramón Urbina ever recorded, though he has kept performing to this day, where you can still find him in Charallave. A true lover of music, we should be thankful that we have at least this one album of his to remind us of a band at the height of their powers.

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Grupo Pan

Pan

LP | 2022 | US | Original (Jalapeno)

Release: 2022 / EU – Original

Genre: Organic Grooves

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First time reissue of one of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years.Grupo Pan was led by Carlos "Nené" Quintero, former member of Los Dementes, Ray Pérez's group, and through this record he aims to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars.This reissue includes original artwork, liner notes and exclusive photos. 180g vinylGrupo Pan was formed in 1970 in the popular Caracas neighborhood of Marín at the initiative of Carlos "Nené" Quintero together with his brother Jesús "Chú" Quintero. His experience as a professional musician as part of Los Dementes, Ray Pérez's group, would allow him to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. The band would be completed with Alfredo Padilla (percussion), David Azuaje and Carlos Guerra (trombones), Henry Camba (trumpet) and Rubén "Micho" Correa (electric guitar), already with a solid reputation as a guitarist after years playing in rock bands.Nené Quintero would resume contact with his acquaintance Mario Tepedino, at that time artistic director of 2001 Juvenil, a Venezuelan tv show focused on the promotion of young musical values, who would offer them to appear on said program. Through the popularity provided by their frequent television appearances, they were offered the opportunity to record an album.In December 1970 their first and only LP would release, recorded at the Fidelis studios in Caracas and produced by Mario Tepedino. It was published by Souvenir, a label responsible for the release of many other essential Venezuelan rock albums, such as the highly sought-after records by The Love Depression or Ladies W.C."Pan" successes in overcoming through its grooves the eternal rivalry between the followers...

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Sam Redmore

Universal Vibrations

Release: 2022 / US – Original

Genre: Organic Grooves

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Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

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LP | 2022 | EU | Original (Secousse)

OST Rumba Rules

De Habana A Lima Con La Orquesta Revé

Release: 2022 / EU – Original

Genre: Organic Grooves

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The official soundtrack of the 2021 Rumba Rules, New genealogies documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories. Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music. Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth : dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)

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Orquesta Reve

LP | 2022 | EU | Original (Vampisoul)

LP | 2022 | EU | Original (Vampisoul)

Release: 2022 / EU – Original

Genre: Organic Grooves

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HIGHLIGHTS!Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad, traveling to Peru in 1971. This extremely scarce LP was recorded for MAG in Lima and comprises mostly Cuban songs -like the outstanding Vicente Rojas' original 'Mi Son Combinado'- and also a rare cover of Jorge Ben's 'Domingas'.Quite an invisible record even for hardcore collectors, and almost impossible to find in any condition, "De Habana a Lima" is now reissued for the first time.More:In 1956, the percussionist and composer from Guantanamo, Elio Revé, founded the orchestra popularly known as La Revé, which in the space of a few years became the Cuban music group par excellence for foreign audiences.Elio, dubbed the father of changüí for his seminal work on this genre, is also considered one of the forerunners of salsa music and his orchestra included musicians of the stature of vocalist Ibrahim Ferrer; pianists Chucho Valdés, César Pedroso and Juan Carlos Alfonso; and bass guitarist Juan Formell, who left the group in 1969 to form Los Van Van.Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad in the seventies, traveling to countries such as Spain, Belgium and the People's Republic of Angola, and these journeys are well documented on the internet. However, little is known about their trip to Peru in 1971_The local record label MAG quickly signed the Cuban groups that arrived in the Peruvian capital and that the head of the label, Manuel Guerrero, agreed to record. The La Revé LP was followed by a Los Compadres album the following year."De Habana a Lima..." comprises a dozen songs labeled changüis, mostly written by Cuban composers, the exception being the closing track: 'Domingas', an original song by Brazilian artist Jorge Ben. In contrast, the album opens with the distinctly Cuban song 'Guajira guantanamera'.

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Panal

LP | 2021 | EU | Original (Vampisoul)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Very rare Chilean album that blends folk and rock in a similar way to one of the most successful bands on IRT: Los Jaivas.A roster of very experienced and talented musicians, including some members of Aguaturbia, was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal.First official reissue with remastered sound from the original master tapes.Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire.Shortly after the coup, the group disbanded, leaving behind this masterpiece.First official reissue with remastered sound from the original master tapes.

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La Sanora Mag

El Negro Bembon

12" | 2021 | EU | Original (Llorona)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Credited to the unexisting La Sonora MAG, this mega rare late '50s album was actually recorded by Peruvian percussionist Ñiko Estrada and his Sonora, comprising hits from the repertoire of the most famous Cuban and Boriquen orchestras: guarachas, boleros and one instrumental tropical beguine.It features three great vocalists: Manolo Castro, Rafael "Chivirico" Dávila and Vicky Zamora, whose take on 'Pepito' became one of the most popular songs of the year in Peru.Reissued for the first time. 180g vinyl pressing.DESCRIPTION/DETAILS:This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born_"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

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Cerrero

Cancion Para Un Amigo

Sebastiao Tapajos Dos Santos, Pedro

Release: 2021 / EU – Original

Genre: Organic Grooves

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Cerrero, Llorona Records Founder's Solo Project, Joins Young "Gaita Flute" And Trumpet Wizard El "León" Pardo (Ondatrópica) For An Acid Cumbia Infused Dub Journey To The Underground Electronic Sound Of South America. Blend Of Ritualism And Futurism, Rough Ethereal Sound, Melancholic Voices And Analog Dub Mixing For A Unique Record That Presents The Work Of The Thriving Electronic Acts From Colombia. Llorona's In-House Act, Cerrero, Teaming Up With Another Colombian, Gaitero And Trompetista, El Leon Pardo. The Enigmatic And Cult Like Figure Has Featured On Many-A-Colombian Record In Recent Years, Including, Ondatropica And Velandia Y La Tigra. Though This Might Be One Of The Most Exciting Match-Ups Yet. Cerrero's Minimalistic Electronic Beats Channeled Through An Analogue Console Alongside The Abraded Howls Of Gaita And Accentuated Trumpet Work. The Deep And Bassy Four-Track Ep, Canción Para Un Amigo, Was Justly Named To Mark The Meeting Of These Two Brilliant Minds. Mixed In The Extemporaneous Ambience Of A Live Recorded Session, It Makes For A Riveting Listen. Six Standalone Tracks, Bound Through Crescendoing Loops Which Culminate In An Ethereal And Atmospheric Ritual Of Sound Which Evokes Colombian Ancestry. From The Spellbinding Opening Of Gaita-Led "Canción Para Un Amigo", The Ep Evolves Through "Todo Te Llevaste", A Track Skillfully Stitched Between Its Vocal Interludes By The Rat-A-Tat Of Accented Tambor, A Fanfare Of Trumpets And Underpinning Bass Line. Closing Out Via "Cumbia En Lejanía"'S, Gaita / Trumpet Led Interplay Into "Despedida", A Pining Jazz Melody Soaked In Reverb, It's As Complete Of A Work We've Heard Yet From Cerrero And Represents Another Glistening Gem In The Ever Increasing Bows Of The Llorona Catalogue. Inescapably Mesmeric As It Is A True Delight.

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Volume 1

LP | 2021 | EU | Original (Vampisoul)

LP | 2018 | EU | Original (OAR)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Recorded And Originally Released Only In Argentina In 1972, The Album Shows An Exquisite And Delicatedialogue Between The Guitar Of Sebastiao Tapajos And The Percussion Provided By Pedro Dos Santos That Generates Ambiences Of Unusual Beauty And Depth.It Is A Necessary Addition To The Much-Hailed Pedro Dos Santos Album "Krishnanda" In The Collection Of Anyone With An Interest In The Most Adventurous Sounds Of Brazil And Also An Essential Work In The Discography Of Sebastiao Tapajos.Includes The Killer Afro-Samba 'Mungangá' And The Hypnotic Groover 'Sorongaio'.Info:The Ion Studios, Located In The Buenos Aires Neighborhood Of Balvanera, Have Been The Usual Setting For Recordings By Argentine Artists As Popular As Les Luthiers Or Charly García. In The Early 1970s They Also Hosted Brazilian Guitarist Sebastiao Tapajos For Several Sessions Accompanied By Other Musicians Such As Arnaldo Henriques, Marianazareth Or Pedro "Sorongo" Dos Santos. Two Albums Would Be Published In The Argentine Record Label Trova Of The Recordings Along With The Latter.Following The Success Of Our Recent Reissue Of Several Recordings From These Sessions ("Vol. 2" Vampi 212 And "Tudo É Moda" Vampi 45073) We Are Now Happy To Present This "Vol. 1". The Connection Between The Delicate Guitar Of Tapajos And The Surprising Experimental Percussion Of Pedro Dos Santos, Based On Unusual Objects Such As Spoons, Deodorant Containers Or Matchboxes, Creates Extraordinary Beauty Throughout The 12 Songs On The Album. The Sound Of The Flute Is Another Of The Ingredients Present In Several Of The Songs And, Although His Actual Involvement Is Not Confirmed On The Sleeve Credits Of The Album, Everything Seems To Indicate That Danilo Caymmi Was The Musician Invited To Accompany The Tapajos-Dos Santos Duo.Since Its First Release In 1972, This Album Has Been Highly Sought After By All Tapajos Fans, Both Inside And Outside Brazil, Becoming A Title Hard To Get Hold Of Due To The Fact That It Was Initially Only Published In Argent...

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Winter & Triptides

Estrela Magica

Caracoles Black Vinyl Edition

Release: 2018 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Estrela Mágica is a collaboration between Winter (Samira Winter) and Triptides (Glenn Brigman). The duo didn’t plan on making a record together; they simply set out to create the type of music they both loved. Sighting influences from Brazil’s colorful Tropicalia movement as well as the phased out sunshine psychedelia of the American 1960’s, Winter and Brigman started blending together their favorite musical colors into a brand new sonic palette. Two years and a dozen home recording sessions later, they had crafted enough material to form the Estrela Mágica LP.

The pair first met in Los Angeles and immediately bonded over their mutual love of Brazilian music and culture. Winter, growing up in Curitiba, Brazil was exposed to mpb, samba and tropicalia at an early age by her mother Maristela, who used to sing “Ele Dorme” and “Raio De Sol” to young Samira (both appear as new arrangements on the record). Brigman, while attending Indiana University, was introduced to Brazilian music by his roommate Pedro Assad who left him a collection of Brazilian samba, bossa nova and tropicalia LP’s upon moving to Rio de Janeiro.

While Winter and Brigman perform most of the music on the record, they were graced with the guest appearances of some their musical friends; Jason Simon (Dead Meadow), Julian Porte (Levitation Room), Modeste Cobián (The Buttertones), Mason Rothschild (Fever The Ghost), Tiago Lobão (Nevilton).

The music was recorded throughout LA, starting in the basement of Winter’s Echo Park house, traveling to a studio in Highland Park and ending in an apartment in East Hollywood. Brigman’s trusty Tascam 488 Portastudio tape machine travelled with them capturing the nuances of each environment to give each song a unique voice and sound.

Whether or not you speak Portuguese, the nostalgic, hazey sound and classic song crafting of Estrela Mágica will translate into any heart that is willing to open itself to the music. From melancholic ruminations on time and loneliness to blissful statements of friendship and peace, Winter and Brigman are exploring the universal aspects of the human experience. Whether sung in Portuguese, Spanish or English, these songs transcend language and plunge straight into the soul.

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Orquesta Akokan

LP | 2024 | US | Original (Daptone)

Poder Del Alma II Black Vinyl Edition

Release: 2024 / US – Original

Genre: Organic Grooves

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Poder Del Alma

LP | 1974 | EU | Reissue (Pharaway Sounds)

Release: 1974 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Impossible to find second album by this band from Nicaragua, 1975. A cool mix of Latin funk, jazz, salsa and psychedelic grooves. Including some of their most sought after tracks like ”Bacanal’ 76”, “Mimo” or the antiracist statement “La Conga de las Dos Razas”. After recording their first LP in Guatemala, Nica supergroup Poder del Alma travelled to Costa Rica to register their second album. This time the recording studio and equipment (including Mini-Moog) were better and the band featured a new line-up. The result was a powerful album which is now one of the holy grails of Latin funk worldwide.

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Fruko y sus Tesos

El Violento

Release: 2023 / EU – Original

Genre: Organic Grooves

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An undeservedly obscure Fruko album from 1973, full to the brim with unrelentingly hard and heavy salsa bangers that never let up (hence the title, "The Violent One"). The record is a pleasing mix of originals and covers and contains the anthems 'Tronco seco', sung by Wilson Saoko, and 'Nadando', a hit for Joe Arroyo. But there's a whole lot more, including hot holiday tunes and the stomping descarga 'Salsa Na' Ma'. This album is "all killer and no filler", designed to set the dance floor ablaze! Details:The 1973 album "El Violento" was the fifth full-length salsa LP led by Julio Ernesto Estrada Rincón, aka Fruko, and the second credited to Fruko Y Sus Tesos. Though it did not contain hits like 'A la memoria del muerto' or 'El Preso', it's a collector's item today in places like the US, Europe and Japan, perhaps precisely because it is obscure yet full to the brim with unrelentingly hard and heavy salsa bangers that never let up from start to finish (hence the title, which translates as "The Violent One"). A mix of originals and interesting covers, the LP is "all killer and no filler", purposely designed to set the dance floor ablaze. It features Fruko's two main vocalists that took over from the first pair of Humberto "Huango" Muriel and "Píper Pimienta" Díaz, namely the beloved duo of Alvaro "Joe" Arroyo and Wilson "Saoko" Manyoma. Los Tesos were a talented "wild bunch" who listened to their fearless leader, with Fruko holding down the bottom end on electric bass, Hernán Gutiérrez in the piano chair, the Villegas brothers on hand percussion (Jesús tickling the bongos and Fernando slapping the congas), augmented by Rafael Benítez on timbales and an ace horn section of Freddy Ferrer and Gonzálo Gómez (trombones) and Jorge Gaviria and Salvador Pasos (trumpets). While "El Violento" may not be as well known as some Fruko records, it certainly deserves a new look and should be assessed on its own merits as a very powerful, confident entry in the historical evolution of Colombi...

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Melcochita Y Su Conjunto

Dejen Bailar Al Loco

Straight From The Decks Volume 3 Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Organic Grooves

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Despite his popularity in Peru as a famous comedian, Melcochita devoted himself to music for many years and worked as in-house studio musician for the label Discos MAG, taking part in countless sessions. This album was recorded between 1967 and 1968, accompanied by the orchestras of Betico Salas, Joe di Roma, Nilo Espinoza, Carlos Muñoz and Tito Chicoma. The album comprises amazing guarachas, mainly international hits, and the hilarious bolero 'Cobardía' where Melcochita brings in his comedian talent. First time reissue! - Back in 1968, the year "Dejen bailar al loco" was released, Pablo was still known as Pacocha (the name of a popular brand of soap) and worked during the day as a session musician for the MAG label. At night, from eight to six in the morning, he used to play percussion in clubs. Then, at the weekends, he performed on the popular variety show La Peña Ferrando, which featured "Quality acting; very funny, simple sketches", impersonations and musical performancs. Most of the guarachas on the album are international hits, such as 'El limoncito' and 'Pa' gozá candela'. The track, 'Quiero casarme contigo' has Mexican origins, and it has been adapted to guaracha style by Betico Salas' orchestra. The humorous 'No es un gato' hails from Colombia, while 'Ahorita va a llové' and 'Carta de mamita' come from Cuba. 'Dejen bailar al loco' and 'Libre de pecado' are also from the Caribbean Island. 'Cobardía' and 'Dos almas' are classic boleros, which were already part of the repertoire of most singers back then and were also included on this album. The only way to perform them to the demanding audience at La Peña without being booed was to put a new spin on the songs, deconstruct them and reinvent the structure, as the Tito Chicoma and Joe di Roma orchestras did, and above all Melcochita, who sang them in a supernatural voice and a created Creole scat that must have wowed the audience, who would then burst into applause and laughter, going home happy after a great night out.

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Guts

2LP | 2023 | EU | Original (Heavenly Sweetness)

LP | 1988 | EU | Reissue (Pa Flipe)

Release: 2023 / EU – Original

Genre: Organic Grooves

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All DJs have their own way of building their set. Some pick records entirely on the spur of the moment and trust their instincts, others write down a precise list on a piece of paper and never stray from it; the set is a kitchen where the DJ is the Chef. It doesn't matter how it’s done, as long as it's done properly and enjoyed by everyone, that's what matters the most.

I think I'm combining these two methods when building my set, except that instead of a meal, I'm talking about a story. A story that crosses styles, countries, atmospheres, and that I tell in a different way every night. With, however, a method that I respect.

Between the new stuff I get from the labels, the stuff that friends and fans send me, and what I dig myself, I have enough to make a different set from A to Z, every night! However, before these treats can delight the dancefloor, each of them has to go through a quite precise process.

The first step is to digitalize my tracks in high quality. I can play several dates in a week, so carrying boxes of records to places that are sometimes far apart is out of the question. The WAV format has become my best friend. With it, I can edit some tracks, cut parts or lengthen others. Sometimes, an interminable intro is not necessary, while a furious break needs to repeat itself a bit longer.

Then, the second step consists in classifying the tracks by genre and origin. A real library is thus created where each title has its own place. Accessible (almost) without searching. I know all too well the experience of getting lost in one's own collection, trying to read the spines, pulling out a record halfway from its shelf only to put it back in it immediately. No, that's not the one... where did I put that other one then?...

From these folders I then draw the titles which will be part of the third stage: the selection for the DJ set. Nothing is set in stone, tracks come and go on a regular basis. I have year-round squatters as well as residents passing through for a few weeks. Or days. It is from there that I begin to elaborate the story that I will be telling for three or four hours.

The beginning of the set is always the same. Welcoming the dancers gently. Letting them take their marks with a musical aperitif of tracks at 80/90 BPM, something that many DJs don’t do or no longer do.

The end is always the same. Parting with the dancers gently. Letting them go down peacefully. Their evening with me is over, but it is perhaps another one, more intimate, that will be starting for them.

In between these two moments, it’s all about the story itself, with its cumbia, reggae, hip hop, lusophone music, funk, soul-jazz twists... A rich story which tells itself in the mood of the moment and back on the dance floor. Depending on the general atmosphere, the rise in musical power can start after an hour and thirty minutes of preliminaries, or it can happen only after 45 minutes. The climax is reached with the Afro-house part, a furious passage that makes overexcited music from Zimbabwe and punk music from South Africa confront each other along a total experimentation with tracks so disturbing that they put the dancers' legs out of sync. This represents a moment of rupture in the narrative, its only purpose being to help reconnect with the dance floor as soon as it is over and to re-launch the story with even greater interest.

Those who have already come to see my DJ set know this: each of my stories is unique.

I hope you’ll enjoy the one I’m telling you in this third volume.

Pura Vida

Guts

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Odissey

Pa Flipe

LP | 2024 | US | Original (Econo Jam)

Release: 1988 / EU – Reissue

Genre: Organic Grooves

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Reissue of the 1988 zouk album Pa Flipé by Odissey.

Odissey is a group formed by the Adams brothers (Pascal and Richie), born in Paris to a mother from Guadeloupe and a father from Martinique. At the time, Pascal was a DJ and radio presenter and Richard was a guitarist, both being trained singers. They had been making demo's for some time when one day they met Jolème Narayadou who was a well-known producer in the country, specialized in charming music who wanted to produce something other than slow and bolero (very popular music at the time). The three ventured in the studio and this resulted in the album Pa flipé (which is a Creole expression which means don't be afraid).

The tune Marie Hélène was a hit and is one of the great successes of Zouk in Martinique. The song is about a man in love with an Indian girl and takes place in Martinique, a small island in the French West Indies which saw the birth of Aimé Césaire but also Jean-Philippe Marthély, Jocelyne Béroard, Jean-Claude Naimro from the Kassav group, the legendary band which was born in Guadeloupe and which has toured the world multiple times.

Check the stand out songs : "Viré Love" & "Songe"

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Ritmos Tropicosmos

La Vida Es Pa'vivir

27,19 €* 31,99 € -15%

Release: 2024 / US – Original

Genre: Organic Grooves

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Emerging from the Oakland underground and the ever-expanding Bay Area cumbia scene, Ritmos Tropicosmos delivers this debut 8-song LP for Summer 2024 on Econo Jam Records. Song subjects range from the purgatory of the unknown, to love/loss and family with lyrics by lead vocalist Eli Reyes and percussionist/vocalist Lesli Rodriguez. With several hard-hitting instrumentals on tap as well, the groove is ever-present, with a constant ear towards experimental sounds and cosmically drenched psychedelia. Band members have a long history in the Bay Area music scene with players from the cumbia, noise, rock, and electronic music communities. Live shows have been described as “how you might imagine a party in the underworld” (Nastia Voynovskaya, Kqed). This record aims to capture the playful but deep-burning energy of the band’s live performances and maybe to even take it one step beyond.

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LP | 2020 | EU | Original (El Palmas Music)

Color De Trópico

27,54 €* 28,99 € -5%

LP | 2024 | EU | Original (Music With Soul)

Release: 2020 / EU – Original

Genre: Organic Grooves

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Color de Trópico is a carefully-compiled work of healing and reconstruction, documenting a special moment in the history of Venezuelan music, when the country’s democracy was just a few years old and the profound impact of the oil industry on society had only just begun. DJ El Palmas and El Dragón Criollo have chosen eight impossibly hard-to-find jewels, originally released between 1966 and 1978, reissued here for the first time on vinyl. In this period, Venezuelan musicians assimilated a wide range of influences and styles, both local and global, to generate something new, a “modern” identity for Venezuelan music; artists who set their eyes on the future without giving up the search for their own sabor (flavour). This is how jazz, rock, salsa, funk, psych, prog and disco, sat next to guajira, cumbia, cha-cha-cha and even the hugely-popular Venezuelan style of joropo. It started a long tradition of Venezuelan musical pioneers, many of whom are still to get the recognition they deserve. Seconds after the needle drops on the vinyl, “El Despertar” (“The Awakening”) kicks off things with a goodbye for it was the last single Los Darts released before their dissolution in 1974. In the 60s they became the youthful face of pop, however, “El Despertar” settles into a later maturity, having digested the tumult of the times. A cha-cha-cha rhythm with bossa nova piano, bluesy stylings and a Caribbean context – a blueprint for tasty miscegenation – with the use of electric guitar, arriving in waves of chords, signalling the onset of modernity. “Guajira con Arpa” by the pioneering Hugo Blanco, who lists the creation of countless rhythms and his early adoption of rhythms like ska amongst his claims to fame, is a fusion that arrives without complexities. It approaches indigenous forms from a multitude of different angles, yet in the middle of its Caribbean approach it creates a melody so close to the pajarillo that the song seems to flip on its head. With “Zambo” the party is on. Here we have an all-star line-up comparable to master Cortijo’s brief project with his Time Machine in Puerto Rico. Alex Rodríguez, one of the most important jazz guitarists in Venezuela and his Retreta Mayor give a twist to the fusion by daring to venture into Latin jazz, funk and salsa. “Gaita Universal” by El Combo Los Capri, gives us a moment of solace, recalling the cultural, rhythmic and even spiritual brotherhood of Venezuela not only with the Caribbean but with the continent, South America and neighbouring Colombia. This cumbia is special, it interweaves musical phrases in the style of a popular party wanting to propose the permanence of culture. Rhythm is the point of union between all human beings and, as its name indicates, its proposal goes beyond the physical and particular. It’s pure tropical hedonism. Nelson y sus Estrellas reminds us once again of the Caribbean wave but here under his “urban” outfit. Nelson plays guaguancó in the style of original salsa, specifically in this version (the theme evolves over time) with a disco-soul twist on “Fantasía Latina”. It takes the sound of early masters like Eddie Palmieri but is developed with eclectic elements, a climatic structure in which a trumpet with vibrato, salsa-rock riffs with acoustic guitars and a flute that, unlike the charangas in those that Johnny Pacheco partook at the same time, rather have a cinematic character. The cosmic “Tu y Yo” from Almendra plots a journey between soul-jazz and psychedelia that sails over a Moog until ending as a P-Funk descarga. Despite the fact that the principal instruments are an organ and a synthesizer, the acoustic guitar provides a unique colour. A tropical psychedelic journey from beginning to end seasoned with congas. The album closes with Tulio Enrique León y Su Organ playing “Bimbom”, a European pop-styled track from 1975. It’s a version of Bimbo Jet’s Eurodisco “El Bimbo” that immediately became famous among popular easy listening orchestras throughout summer in Europe. Tulio Enrique shines by turning it into an enigmatic and spectral cumbia. Tulio was an organist whose blindness did not prevent him from becoming one of the most popular artists in the world, as cited by Billboard in 1965. We have left the politically-incorrect “Socorro, Auxilio” by Germán Fernando for the end. According to music journalist Alfredo Churión “those who saw him attested to having witnessed something indescribable”, a mysterious man who doubted even his sanity and of whom today practically nothing is known. He was someone who dared to show a completely foreign effrontery, signing unintelligibly, moving frantically and throwing himself to the ground before the stunned gaze of his audiences. Venezuelan writer Luis Armando Ugueto states: “his art could go from the sublime to bad taste – and it was craved by the press – when he subjected viewers to strange songs where he pleaded for socorro and auxilio [help].” Germán Fernando had a histrionic proposal that was a thousand times misunderstood and that even popular presenters of the time like Renny Ottolina dubbed “his follies”. A theme close to the jazz orchestra soundtracks of James Bond and Batman accompanies the showman here who comes across like a creole Screaming Jay Hawkins. He creates a whirlwind of sound that, while as agile as a featherweight, is also capable of knocking out all the old ideas we had about Venezuelan music.

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Conjunto Papa Upa

Fruta Madura

27,54 €* 28,99 € -5%

2LP | 2009 | US | Original (Barbes)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”". Eblis Alvarez (meridian Brothers) “Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”. Gladys Palmera

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”. Discodelic

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Chicha Libre

Sonido Amazonico

Black Soul Brothers Green Vinyl Edition

Release: 2009 / US – Original

Genre: Organic Grooves

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2024 Repress.

Chicha Libre’s debut album, Sonido Amazonico is finally available on vinyl in Europe. The double album contains all original tracks first published as a CD back in 2008. The vinyl edition is comprised of 3 sides of music, and a fourth side with an etching of iconic Venezuelan saint Jose Gregorio.

Chicha, Peruvian psychedelic cumbia, was first popularized outside of Peru by a compilation released by Chicha Libre's own Olivier Conan and entitled "The Roots of Chicha." The music proved popular around the world, being championed by people such as Elijah Wood, Matt Groening, Alex Kapranos and director Almadovar.

The Brooklyn band Chicha Libre started out as a tribute to Peruvian pioneers but quickly evolved into an original project which MTV has called “one of the world's preeminent Tropical Psychedelic band”. Indeed, while they remain true to their Chicha roots, Chicha Libre's quickly took a more psychedelic turn drawing from its members' alternative background.

Made up of Mexican, Venezuelan, French and American the band used surf guitar, organ sounds and Latin percussion to play a mixture of borrowed and homegrown sounds – but its music remains a freeform reinvention, not an exercise in nostalgic duplication.

The re-release coincides with the release of a new EP “Tequila y Aguardiente”, in collaboration with Son Rompe Pera and La Sonora Mazuren.

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Miguel De Deus

LP | 1977 | EU | Reissue (Groovie)

Cumbiamuffin Black Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS Brazões and Assim Assado, he let us an amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia.

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Cumbiamuffin

LP | 2022 | EU | Original (Sounds And Colors)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Infectious, hypnotic tropical grooves with a ragga kick from Australia’s premier

cumbia orchestra. If you like Ondatrópica, Frente Cumbiero, Ska Cubano and

Lucho Bermúdez, you’ll love Cumbiamuffin.

It was only a matter of time before cumbia hit Australia. After humbly coming to life on

Colombia’s Caribbean coast, this rhythm—and everything it represents: its multiethnicity,

its danceable pulse, its resilience—snaked its way up the mountains to reach

Colombia’s urban capitals, Bogotá and Medellín, who transmitted the signal to Mexico,

Peru, Argentina... Cumbia travelled, and wherever it landed it took hold; Charles Mingus

got his fill in the 70s, Mexicans brought it across the US border in the 80s, Joe

Strummer couldn’t get enough of it in the 90s; and wherever it landed, it has shown its

flexibility, its ability to adapt to new environments.

Cumbiamuffin are the perfect example of what happens when cumbia arrives in a

completely different continent. Since forming in 2010, they have become Australia’s

premier large format cumbia orchestra, offering a twist on the genre that no one saw

coming. They take their inspiration from cumbia’s brass band traditions, when the genre

was adopted by orchestras in the 1940s, the start of its golden age, but they do not stop

there. They also look further afield, to the big bands of Mexico and Peru, and even to

the Caribbean, which is how their name came about. Cumbiamuffin represents the

contraction of two musical styles that the group seamlessly bring together in one big,

vibrant, joyous experience: cumbia and raggamuffin reggae. This is a group that can

inject even more life into a bona fide Colombian classic like Lucho Bermudez’s

“Salsipuedes,” take a Greek club version of a Mexican banda track written by an

Argentine accordionist and come up with the cohesively international “Ritmo de

Sinaloa,” and then there’s that unmistakable ragga skank all over “La Promesa,” with

“La Cabezona” being an instrumental descarga that has no right to rumble so low,

designed with dance halls and sound systems in mind.

Armed with the collective energy of two authentic Colombian vocalists, a seriously

massive brass section, heavy bass, funky guitar, salsa piano and equally authentic

percussion, the 15-piece band combines elements of reggae, dancehall and roots from

the Colombian Caribbean in a deft mix that is both retro and futuristic, authentically

traditional and yet also experimental. Put together by a collective of Colombian and

Australian musicians, the project has the common vision of introducing the purest

sounds of the golden era of orchestrated cumbia to Australian audiences, but with a little

something more added to the formula to keep things fresh.

Having triumphantly conquered their home country’s competitive music scene with sold

out shows at numerous festivals and well-known venues all over Down Under,

Cumbiamuffin are poised to break out to a global audience with their debut self-titled LP.

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The Paths Of Pain The Caife Label Quito 1960-68

2LP | 2021 | UK | Original (Honest Jon's)

As Palavras Volume 1 & 2 Black Vinyl Edition

Release: 2021 / UK – Original

Genre: Organic Grooves

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A dazzling survey of the last, bohemian flowering of the so-called Golden Era of Ecuadorian musica national, before the oil boom and incoming musical styles — especially cumbia — swept away its achingly beautiful, phantasmagorical, utopian juggling of indigenous and mestizo traditions.

Forms like the tonada, albazo, danzante, yaravi, carnaval, and sanjuanito; the yambo, with roots in pre-Incan ritual, and the pasillo, a take on the Viennese waltz, arriving through the Caribbean via Portugal and Spain.

Exhumations like the astoundingly out-there organist Lucho Munoz, from Panama, toying with the expressive and technical limits of his instrument; and our curtain-raiser Biluka, who travelled to Quito from Rio, naming his new band Los Canibales in honour of the late-twenties Cannibalist movement back home, dedicated to cannibalising other cultures in the fight against post-colonial, Eurocentric hegemony. He played the ficus leaf, hands-free, laying it on his tongue. One leaf was playable for ten hours. He spent long periods living on the street, in rags, when he wasn’t in the CAIFE studio recording his chamber jazz-from-space, with the swing, elegance and detail of Ellington’s small groups, crossed with the brassy energy of ska — try Cashari Shunguito — and an enthralling other-worldliness.
Utterly scintillating guitar-playing, prowling double bass, piercing dulzaina, wailing organ, rollicking gypsy violin, brass, accordion, harps, and flutes. Bangers to get drunk and dance to. Slow songs galore to drown your sorrows in, with wildly sentimental lyrics drawn from the Generacion Decapitada group of poets (who all killed themselves); expert heart-breakers, with the raw passion of the best rembetica, but reined in, like the best fado.

Sumptuously presented, in a gatefold sleeve and printed inners, with a full-size, full-colour booklet, with wonderful photos and excellent notes. Limpid sound, too, courtesy of original reels in Quito, and Abbey Road in London; pressed at Pallas.

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Rubel

2LP | 2024 | UK | Original (Mr Bongo)

LP | 1984 | EU | Reissue (Mondo Groove)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

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Juan Pablo Torres

Cuba Disco

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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

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Aquarius

Fabiano Do Nascimento & Itibere Zwarg Collective

Release: 2023 / EU – Original

Genre: Organic Grooves

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An amazing bit of Brazilian samba funk that also touches on MPB, bossa nova, jazz_ First time vinyl reissue.Originally released in 1976, this sought-after gem opens with the beautiful version of Burnier & Cartier's "Só Tem Lugar Prá Você", building up a mellow, airy vibe that stays throughout the entire album.Vocal harmonies and arrangements and excellent guitar work are masterfully combined creating a joyful journey featuring the undisputed talent of Raymundo Bittencourt, Octávio Burnier and Paulo Moura."The human voice is more than just a musical instrument; it is ally to the thought. Vocal art is one of the most beautiful forms of musical expression and an endless resource. It's a shame that so few devote themselves to it in our popular music. I would therefore like to congratulate AQUARIUS and CONTINENTAL for the release of this LP and may it be received by all with the same affection and attention than those who dedicated themselves to making it" Paulinho TapajosThese notes, originally printed on the back cover of this 1976 beauty, are a perfect introduction to the vocal harmonies and arrangements and excellent guitar work that are masterfully combined creating a joyful journey that features the undisputed talent of Raymundo Bittencourt, Octávio Burnier and Paulo Moura.

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Rio Bonito

CD | 2023 | JP | Original (Rings)

Erosão HHV Exclusive Aquamarine Vinyl Edition W/ Fanzine

Release: 2023 / JP – Original

Genre: Organic Grooves

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Fabiano do Nascimento, one of the most popular and talented guitarists/composers in the Brazilian scene today, and Itibere Zwarg, the backbone of the Hermeto Pascoal Group, will be releasing a new album as a collective!! The new album will be released worldwide from rings!! ---- "Fabiano do Nascimento, the guitar virtuoso who shared Brazilian music with Sam Gendel, has completed a beautiful recording with a collective by bassist/composer Itibere Zwarg, who also received praise by Pino Palladino. It is a truly creative and inspiring album that beautifully captures the empathy that exists between Los Angeles and Rio de Janeiro." - Masaaki Hara (rings)

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Mariá Portugal

LP | 2021 | EU | Original (Fun In The Church)

LP | 2019 | EU | Original (BBE Music)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Limited aqua marine vinyl edition including a lyrics' fanzine. 150 copies only, only at HHV Records.

After 20 eventful years as a drummer, singer, producer and composer in her hometown São Paulo, the Brazilian Mariá Portugal moved to Duisburg some time ago.
On November 12, 2021, she is now releasing her latest album, Erosão. Her debut for Fun In The Church will be released as a collaboration between selo Risco (Brazil) and Fun in The Church on vinyl and digital.

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Lumingu Puati (Zorro)

Mosese

2LP | 2018 | EU | Original (BBE Music)

Release: 2019 / EU – Original

Genre: Organic Grooves, Rock & Indie

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In the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable.Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion.Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that

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Gabriele Poso

Awakening

LP | 2024 | EU | Original (Discos Fantástico!)

Release: 2018 / EU – Original

Genre: Organic Grooves

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Making his BBE debut in 2017 with compilation
album ‘The Languages Of Tambores’,
described by The Vinyl Factory as “ancestral,
evocative and visceral”, Italian multiinstrumentalist
Gabriele Poso returns to the
label with his new LP ‘Awakening’. Since his
debut album ‘From The Genuine World’,
released in 2008 on Osunlade’s Yoruba
Records, Gabriele has amassed an impressive
catalogue of solo work and guest appearances,
not to mention a hectic schedule of live
performances. Perhaps Gabriele’s most rounded
work to date; ‘Awakening’ captures an artist in
full bloom, examining a crossroads between
creative and personal paths.
“The birth of my eldest son Viktor caused me to
question my career in music and explore other,
more ‘secure’ options, but thanks to my wife I
quickly realised that to be different from your
neighbor doesn’t make you wrong. After all, in
this life, does anyone really have any security?
So actually Viktor and my family have become
my super power: they teach me to believe in
myself more then I ever did before. This album
is all about that realization; that Awakening.”
Encompassing Afro-latin, jazz, soul and dance
music elements, glued together by Poso’s
distinctive layered live percussion sounds,
‘Awakening’ is peppered with guest
performances and production touches from a
talented series of friends. As Gabriele puts it “I
like to surround my music with the people I love
and want to spend my time with.” A deeply
rooted and spiritual project, a few of the tracks
featured on ‘Awakening’ will be familiar to those
lucky enough to catch Gabriele Poso on tour
over the last 12 months; not least his reimagining
of the Roy Ayers classic ‘Everybody
Loves The Sunshine’. From the stunning cover
art by Elvira Gerardi which features Gabriele’s
first born son Viktor, to the special music
contained within, this album’s message is clear;
although as Gabriele succinctly points out: when
we talk about love, ‘words never work.’

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Los Sanders De Nana

Carreteando Volume 1

Blue Monday / Why Don't We Do Some Boogaloo?

Release: 2024 / EU – Original

Genre: Organic Grooves

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In the story of Los Sanders, many sources can be found to understand the emergence of “chicha”, a style associated with the life of migrants in the city that saw its heyday in the 1980s, but also to understand the connections between youth music, “new ola”, and rock with tropical rhythms.

Los Sanders serve as a bridge between periods and styles, and their ability to adapt to musical genres and reinvent them has given them a unique style. Los Sanders de Ñaña reflect a Lima that was transforming, giving way to a new face and a new urban soundtrack.

In the universe of Peruvian tropical music, one can distinguish a wide variety of styles. One of the most unique is known as the “carretero” style, also referred to as the “Carretera Central” sound, which alludes to the sound developed by a series of musical groups that became known during the 1970s in the areas surrounding this major highway. At that time, this area received a large influx of migrants from the provinces who came to the capital in search of a better future. The initiators of this carretero style were Los Sanders de Ñaña, and following them, other groups emerged, not only creating a unique style but also establishing a circuit.

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Los Fulanos

7" | 2024 | UK | Original (Lovemonk)

LP | 1980 | EU | Reissue (Elpalmas Music)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Los Fulanos, Barcelona's champions of Latin Soul, are back on wax!
Miguelito Superstar, co-producer along with Manuel Dabove of their celebrated debut album, "Si esto se acaba, que siga el boogaloo", has crafted two electrifying versions that are pure fire. 'Why Don't We Do Some Boogaloo?', already a local classic, is paired with a take on New Order's legendary 'Blue Monday', which is transformed into a nearly unrecognizable Latin Funk powerhouse.
Both tracks receive special treatment, Miguelito has unearthed some key breaks from the original sessions and pushed the rhythm section front and center, making this 7" a must-have for you know who.
Latin Soul para que baile la gente!

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Sam Dimas Y La Diferente

El Tumbao...

En La Conquista Del Mundo Latino

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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In the 80s, Dimas “Sam Dimas” Pedroza was encouraged with two atypical projects. One in partnership with the great Larry Francia, another artist released by El Palmas Music, and titled La salsa es con Dimas y Larry. And the other with an orchestra of great artists of the time that El Palmas also proudly relaunches in 2024: Sam Dimas and La Diferente’s El Tumbao…, with songs by prestigious authors such as Joseíto Fernández and José González Giralt and arrangements by the renowned trombonist Rafael Silva.

It is worth mentioning the great musicians that Dimas Pedroza summoned for this album: Rafael Araujo, Lewis Vargas and Gustavo Aranguren (trumpets), Carlos Espinoza and Rafael Silva (trombones), José Ávila (piano), Rafael Prado (bass), Pedro Viloria (timbales, güiro), Williams (congas), Nene Pacheco (bongo, drum), Leo Pacheco, Rafael Silva and Rafael Prado (choirs). There were also some special guests: Alfredo Pollo Gil and Manuel Icazas (trumpets), Oscar Mendoza (trombone), Joe Santamaría and Chucho Chuchochi (timbal) and Edwin Infante (maracas). Sam Dimas y La Diferente’s El Tumbao… is an album that Dimas - who is 80 years old today and still lives in Caracas - never presented live. One of those hidden gems in the history of salsa that El Palmas is dedicated to rescuing to continue reconstructing the memory of Venezuelan popular music, one of its main objectives. At the time of its appearance it did not receive the attention it deserved, perhaps because at first glance you can only see the surface. “I met Dimas through Roberto Monserrat on Radio Emisora Venezuela. He was from La Pastora, San José, and worked in a hospital - says Federico Betancourt in the book La salsa de Federico Betancourt y su Combo Latino, published by the Editorial Foundation El perro y la rana -. They invited him to one of the Combo Latino rehearsals and he came. Honestly, at first I was very impressed by the timbre and the way he sang, but Monserrat and the other members of Combo Latino thought it was good and they convinced me to leave him in the group. The day of recording our first LP arrived and I listened to Dimas again and then I said to myself: “Damn, this dude really sings well! You should never get carried away by your first impression.”

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Salsa Suprema

LP | 1979 | EU | Reissue (Elpalmas Music)

Poder Del Alma HHV Exclusive Clear Blue Vinyl Edition

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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El Palmas Music rescues a hidden gem of Venezuelan salsa

With the vinyl reissue of En La Conquista del Mundo Latino (1979), by the Salsa Suprema Orchestra, it pays a fair tribute to Larry Francia.

“Larry Francia's work deserves nothing less than transcendence,” says Miguel Álvarez, the Venezuelan musical collector and archaeologist who one day came across with this Salsa legend from his country without planning it and knew it was fair and necessary to spread this magnificent work.

Born in Barlovento, an Afro area of Venezuela where the drum rules, Larry Francia grew up in San Agustín del Sur, a Caracas neighborhood that is salsa territory par excellence. When he was barely 12 years old, Víctor Piñero, one of the most popular orchestra singers in Venezuela in the 60s, summoned him to record choirs. An early initiation that marked Larry forever and at the same time revealed his indisputable talent.

“His driving force is singing. If you're talking to him, he often stops talking to sing" says Álvarez. “He was a man who never stopped being a musician, even though his living conditions were never the best. And the legacy of Salsa Suprema is key to Venezuelan popular music.”

When that orchestra stopped working (there were no producers who supported their tours, their records were pirated in Spain in the 80s), Larry suffered an emotional breakdown and even gave up devoting himself to music for a few years. He was someone who undoubtedly lived for and through music.

Larry Francia left this world in 2023, but we are left with a fabulous album like En La Conquista del Mundo Latino, recovered from the chest of memories by Álvarez and the Suicide Diggerz collective, specialists in rescuing hidden gems. “It’s a collector's item of the most exquisite and least known Venezuelan salsa” he defines.

The El Palmas Music label - created by musician, DJ, designer and cultural agitator Maurice Aymard, whose base of operations is in Barcelona - has been committed since 2020 to making known the best and least visible of the rich heritage of the popular music from Venezuela. Now he is pleased to present the reissue of this fundamental album as a posthumous tribute to an artist with capital letters: the great Larry Francia.

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Poder Del Alma

LP | 1974 | EU | Reissue (Pharaway Sounds)

10" | 2023 | US | Original (Nublu)

Release: 1974 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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HHV Exclusive edition on clear blue wax, limited to 100 copies worldwide.

First ever reissue!! Psychedelic Latin-funk holy grail from Nicaragua, 1974!! Poder del Alma (“Soul Power”) was a supergroup formed by some of the best musicians from the Nica scene. This all-star band of nine members was assembled to play at the famous free concert of Santana in Managua in benefit for the 1972 earthquake. After that successful gig supporting the Latin-Rock superstar, what was to be a one-night stand became the seed of the most loved Nicaraguan act from the 70s. All the members had already played an important role in the history of the Nica music / hippie scene in the 1960s. Among them, we can find Román Cerpas (previously on Bwana), René “Chapo Domínguez (Los Rockets), Edgar “El Gato” Aguilar… A few months after the Managua concert with Santana, Poder del Alma traveled to Guatemala to record their first long play for Dideca (Discos De Centroamérica, S.A.) in just one week of recording sessions. Despite the low budget and precarious recording equipment, the band managed to obtain a powerful psychedelic / afro / funk-rock sound full of electric guitar, heavy drums, hot, percussion, horns, Spanish male/female vocals…featuring titles like “El Valle del Ayatimbo”, “Ia-Taa Yo”, “Zúmbale”…

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Ilhan Ersahin

Your Head You Know

LP | 2023 | EU | Original (Elpalmas Music)

Release: 2023 / US – Original

Genre: Organic Grooves

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"On their first album as a trio, these jazz-rooted musicians create a luxurious atmosphere drawing from funk, krautrock, and noirish electronica." Andy Cush / Pitchfork "this is project is sick. Love the tunes, you definitely capture a hypnotic fusion of like smoking hash in a dangerous alley in Tangier, but also a very trippy laid back and louche LA cool.” Jeff Weiss With drummer Kenny Wollesen (Tom Waits, John Zorn, Norah Jones) and Dave Harrington (of electronic duo Darkside) guitar/bass/electronics, New York-based Swedish/Turkish saxophonist, composer, club-label owner Ilhan Ersahin captures the vibe of impromptu, cross-pollinating, and heavily grooving late-night jam sessions at Nublu, his “East Village Club where everything goes” (New York Times). The telepathy and intuition that flows between these three musicians is one that has developed over many years of playing together in different combinations, and on a permanent regular basis at NYC's Nublu, searching and creating together in the moment. What they have come up with has evolved steadily over that time and its current form can be heard to brilliant effect on their debut album “Invite Your Eye” (2022). The exploratory instrumental space-jazz these gentlemen purvey has many antecedents and influences but perhaps it's best not to cite names and instead let the music speak for itself.

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Tabaco

Teatro Amadeo Roldan Recita

Release: 2023 / EU – Original

Genre: Organic Grooves

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El Palmas Music to release a new compilation of songs by the famous Venezuelan singer and percussionist Tabaco.

Tabaco Quintana is, without a doubt, one of the great masters of Venezuelan salsa. Born in Caracas in 1943, he was tall and very skinny, which earned him the nickname ‘Tabaco’. A shoeshine boy and street hawker, at the age of 18 he fell in love with the Caracas nightlife and spent his days listening to the rehearsals of a musical group that he ended up joining, thanks to the intervention of his friend Elio Pacheco. That group was called Sexteto Juventud.

Tabaco passed through almost every musical position within the band until he became a singer. It was the resemblance of his voice to Ismael Rivera and his skills as an interpreter that earned him a permanent position in the band.

After leaving the group in 1973, he created his own sextet, Tabaco y Su Sexteto, and later formed Tabaco y sus Metales, two groups that achieved international recognition, and became staples of the Venezuelan music scene ‘til the mid-80s. Throughout, and despite his fame, Tabaco was always clear that music had a social role to play, and would often sing in Venezuelan prisons. Sadly, he died young, on May 30, 1995, due to a lung condition. The public overflowed the streets to accompany him to his last dance.

This compilation of Tabaco’s songs, simply titled Tabaco and compiled by El Dragón Criollo and El Palmas, is an attempt to shine a light on this musical icon, and to show his versatility, vocal ability and unparalleled knowledge of musical rhythms.

Primarily known for his voice - which isn’t surprising considering his vocal nuances and the different registers he is able to reach - it can be said that he was also no slouch when it came to mixing up the rhythms. On this compilation there is a strong influence of African music (“San Juan Guarincongo”, “Imolle”) and jazz - just listen to the unforgettable beginning of “Arrollando”.

Percussion, piano and wind instruments are high in the mix, but it’s the masterful voice of Tabaco that adapts effortlessly to the requirements of the melody and the lyrics, riding each groove masterfully. The lyrics also show the great social sensitivity of the Venezuelan maestro: “Una Sola Bandera” and “Cuando Llora el Indio” are two great examples of salsa’s power in denouncing social injustice, and Tabaco’s commitment to that ethos.

Tabaco is unmissable, a heady journey into the essence of salsa and the rhythms of the Caribbean.

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Grupo Irakere

LP | 1974 | EU | Reissue (Mr Bongo)

28,49 €* 29,99 € -5%

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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For the third release in our Mr Bongo Cuban Classics series, we reissue the iconic 1974 debut album by the mighty Grupo Irakere. Led by Chucho Valdés, son of Cuban pianist and bandleader Bebo Valdés, the band would go on to become of the most influential and successful groups emanating from Cuba in this period. Their debut ‘Teatro Amadeo Roldan Recital’ is an in-demand and incredible Afro-Cuban, jazz-funk masterpiece originally landing on Cuba’s state-owned imprint, Areito.

One of the jewels of the album is the beast of an opener, 'Bacalao Con Pan’. A heavy dancefloor Latin-funk burner, with ripping Wah-Wah guitar, a blistering mix of Latin percussive elements and horns firing on all cylinders. It’s a song which builds and breaks with an energy and power that still lights up the dance to this very day.

The album is a varied bag of tricks, traversing moods, styles and genres whilst melding traditional rhythms with more contemporary mindsets. Take the delectable downtempo ballad ‘Danza Nañiga’ or ‘Valle Picadura’ that starts on a similar tip, before erupting into a horn heavy heater. Move through to find ‘Taka Taka Ta’ where Afro-Cuban jazz, call and response vocals and brain-busting organs marry in steamy unison.

Elsewhere, continuing this melting pot of musical influences, the prog/psychedelic rock leaning 'Quindiambo', expertly combines traditional Latin music with psych rock in a similar way to Santana. 'Misaluba' is another highlight, a cover version of a song by the British-Italian based group Cyan, written by Mario & Giosy Capuano, making it their own with this tripped-out, percussion-rich makeover.

As debuts go, Grupo Irakere’s ‘Teatro Amadeo Roldan Recital' is about as good as it gets and gives a snapshot of Cuba in the mid ‘70s, with a band that were destined for big things.

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LP | 2024 | EU | Original (Mad About)

Disco É Cultura Volume 2

LP | 2020 | EU | Original

Release: 2024 / EU – Original

Genre: Organic Grooves

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A tribute to a glorious and sophisticated era in Brazil music.

"Disco é Cultura, vol. 2" brings 15 tracks of the funkiest Brazilian music from the 70s and 80s. Soul and Funk were taking the world by storm in the 1970s. Brazilians developed their own sound by combining influences from Funk and Soul music from abroad to create something uniquely Brazilian.

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Hermanos Gutiérrez

Hijos Del Sol

LP | 2024 | UK | Original (Now-Again)

Release: 2020 / EU – Original

Genre: Organic Grooves

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Two brothers, two guitars, two distinct identities, who become one soul when they compose music. Stephan and Alejandro, are the Hermanos Gutierrez, an instrumental music band with an unmistakable genre that is rooted in Western and Latin American sound. Born from an Ecuadorian mother and a Swiss father they grew up being forged by both cultures, bridging between two worlds, both of which are home.

Their mix of identities, that constant search across different countries clearly emerges in their songs. Their music takes the audience on an intimate journey through time evoking remote spaces. A magical sound that touches the heart, that sparks passion and nostalgia. An open invitation to a constant dialogue of melodies and instruments.

Playing together since their early childhood, a profound musical and interpersonal symbiosis ties the two brothers. If one of them has a melody, the other one completes it with harmony. There is a deep understanding between the two of them, without any need for words.

Active as a band since 2015, they have recorded four albums: “8 Años” (2017), “El Camino De Mi Alma” (2018), “Hoy Como Ayer” (2019), and the newly released LP “Hijos Del Sol” (Children Of The Sun). A body of work that has been inspired by their journey through the vast natural landscapes of Mexico, the silence of the desert, the sun, and their love for this country that made them feel “like going home”, as they affirm. Out came a soundtrack of the sceneries they’ve been exploring.

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Los Yesterdays

Frozen In Time

LP | 2024 | UK | Original (Time Capsule)

Release: 2024 / UK – Original

Genre: Organic Grooves

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"Debut album from Los Angeles duo Los Yesterdays - Sweet Soul music meets Mexican Folklorico Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland - a drummer by trade, then creaky and exhausted from waking up at dawn to work construction - decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today - the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time."

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Izumi "Mimi" Kobayashi

Choice Cuts 1978-1983

LP | 1996 | EU | Reissue (Far Out)

Release: 2024 / UK – Original

Genre: Organic Grooves

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A luminous soul with an indefatigable love for music, few artists have had careers as varied and successful as Izumi ‘Mimi’ Kobayashi. One of Japan’s leading jazz-funk pianists, she wrote and recorded cult albums with fusion legends at home and abroad. Obsessed with new electronic instruments, she penned some of the country’s most well-known TV themes and pioneered the use of drum machines in anime soundtracks.

A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings made at Prince Fatty’s studio.

Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.

The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ iconic ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.

Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s space for two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).

Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a backing band of jazz fusion icons, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit, attracting huge sums on the resale market. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.

Capturing a highly creative and prolific moment in Mimi’s career, Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi. Once you enter, you won’t want to leave.

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OPA

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2LP | 2024 | Original (Far Out)

Release: 1996 / EU – Reissue

Genre: Organic Grooves

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Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay’s native Candombe rhythms with North American jazz and pop music, Opa’s space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago.

Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa’s first recordings using a four track Teac 3340. The album would become home to some of Opa’s hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for.

Mysteriously (for reasons unknown to the band), Opa’s debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favourite albums: Goldenwings (1976) and Magic Time (1977).

Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal and Milton Nascimento. In more recent years Opa’s music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib.

For fans of Azymuth, Weather Report, Cortex and The Headhunters.

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Caixa Cubo

Modo Aviao

Straight From The Decks Volume 4

Release: 2024 / Original

Genre: Organic Grooves

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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.

Recent Caixa Cubo releases include 2023’s “Agora”, which featured guest vocalists including Xênia França and Zé Leônidas; and 2020’s "Angela," which was hailed by BBC 6 Music, Gilles Peterson, and Bandcamp as one of the best albums of the year.

Caixa Cubo have performed at Jazzahead! in 2022 (Germany), Jazz à Vienne (France), Riverboat Jazz Festival (Denmark), Breda Jazz Festival (Netherlands), Blue Note São Paulo (Brazil) and Jazzkeller Frankfurt (Germany)

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Guts

2LP | 2024 | EU | Original (Pura Vida Sounds)

LP | 2023 | EU | Original (Far Out)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.
When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.
Over time, to evolve is to find oneself facing only two roads.
On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.
And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.
Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.
This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering.

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Grupo Um

Starting Point

LP | 2024 | US | Reissue (Now-Again)

Release: 2023 / EU – Original

Genre: Organic Grooves

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In 1975, under the oppressive air of military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo’s Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal’s Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto’s direction that the Paulista rhythm section (as they were then known) began to realise their own potential.

With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV and art galleries, many Brazilian artists fled during the years of dictatorship. But underground, Grupo Um were fusing avant garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music - in stark contrast to the sterile, conservative conditions being imposed above ground.

Just like Hermeto Pascoal’s Viajando Com O Som from the following year, Starting Point was recorded over two days at Vice-Versa Studios, by revered engineer Renato Viola. The studio was one of the best in Sao Paulo and musicians communicated with engineers through cameras and a monitor, allowing the group complete immersion in the process. They also made use of the studio’s hemispherical tiled room, which served as an acoustic reverberation chamber.

The album begins with Zé Eduardo Nazario’s thunderous drum solo on “Porão da Teodoro”, before clearing the clouds with the lone Berimbau which opens “Onze Por Oito”. Built around a hypnotic electric bass line, heady Fender Rhodes improvisations, and more rip-roaring drums, it’s a rapturous, electrifying freak-jam in 11/8.

Like some invertebrate deep-sea curiosity, the free-form “Organica” is made up of Lelo Nazario’s playfully eerie prepared piano, with Zé Eduardo’s percussion flurries darting around Assumpçao’s double bass. The equally non-conformist, percussion-only piece “Jardim Candida” features many of Zé Eduardo’s home-made instruments, including a long saw blade played with vibraphone sticks and violin bow. While working with Hermeto, Zé Eduardo famously built his own all-in-one percussion set-up known as the “Barraca de Percussão” (Percussion Tent) - the first of its kind in Brazil, which he would also use on Hermeto Pascoal’s Viajando Com O Som and throughout his career.

“Suite Orquidea Negra'' (Black Orchid Suite) was written by Lelo Nazario as the score for an imaginary movie - the story of a rare, black orchid which produced a substance meant to cure all diseases, but which had mysteriously disappeared from the laboratory… “As a screenplay it’s not very good” reflects Lelo in jest, “but the music ended up being very interesting, the way its parts are chained to one another carries a little of the mystery I imagined for the movie.”

The album closes with the triumphant “Cortejo dos Reis Negros” (Procession of Black Kings) - a groovy variation on the Maracatu rhythm, with a two-note bassline underpinning piano improvisations, exultant wordless vocals, cuicas, slide-whistles and a very special guest appearance from Zé’s dog Bolinha.

Starting Point was to mark the inception of one of Brazil’s most daring instrumental groups. Their debut now sits in the lofty echelon of otherworldly 70s Brazilian music, alongside the likes of Marcos Resende & Index’s self-titled debut, Cesar Mariano & Cia’s Sao Paulo Brasil, Azymuth’s debut and indeed Hermeto Pascoal’s Viajando Com O Som. But just like all of those titles, which were either shelved or largely ignored at the time, Grupo Um - so radically ahead of their time - struggled to find a label to release their debut album. So Lelo kept the tapes safe in his archives, which is where they sat for almost half a century. Finally, almost fifty years later, this mesmerising piece of history is here, and it was only the beginning...

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La Fantastica

From Ear To Ear

Compiled By El Dragon Criollo & El Palmas

Release: 2024 / US – Reissue

Genre: Organic Grooves

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Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

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PP's

LP | 2024 | EU | Original (Elpalmas Music)

LP | 1979 | EU | Reissue (Mad About)

Release: 2024 / EU – Original

Genre: Organic Grooves

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The compilation edition recovers the memory of a very important moment for Venezuelan pop music. The appearance of Pp's (the acronym for Pedro Pérez Show, an original name that highlighted the leadership of the creator of an unexpected new wave scene in Venezuela) produced an explosion whose echo later resonated with the birth of a handful of bands that also renewed the country's musical panorama, in tune with what sounded strong in the Anglo market in those effervescent 80s (punk, post-punk, ska, even the funk that had expanded in the previous decade): Sentimiento Muerto, La Seguridad Nacional, Desorden Público, Caramelos de Cianuro, Los Amigos Invisibles (who recorded a cover of “Yo soy Así”, a Pp's song, on their cover album Super Pop Venezuela from 2005). Pp's recorded three albums in the 80s: Pp's (1981), En el aire (1982) and Tercera Guerra Mundial (1984), all with a clear pattern: putting the body in motion. It is music connected to its time that invites you to dance and listen to today, it builds a bridge to the past while opening a path to the future because Pp's is still in action. This compilation contains six songs from the first album, two from the second and three from the third, is an exclusive edition of El Palmas Music. It reaffirms the vocation of Maurice Aymard's label to preserve the heritage of Venezuelan popular culture and at the same time captures all the facets of a musical project that is a stainless symbol of the country's new wave, but also exceeds that label with music in which Flows of progressive, space rock and acid jazz filtered through. A colorful, diverse new wave, far from any type of corset. At just over 20 years old, Pedro Pérez lived in a city with a powerful cultural imprint like San Francisco. In the air was the fresh, uplifting sound of bands like Talking Heads, Devo and The B-52's. Also reggae and dancehall from a large group of Jamaican artists. Pérez also shared a date with Black Uhuru and with Ub40, a British reflection (white and more pop) of Rastafarian music. “I am like this / And what does it matter to you?”, the line that is repeated insistently in “Yo Soy Así”, one of the most emblematic songs of all that Pérez wrote, is a provocation and a declaration of principles. The new always wants to destroy the old, change the channel, change the station, head towards an alternative road.

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Pedrinho Sampaio

Um Grito De Guerra

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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The LP “Um Grito de Guerra” cover invites us to enter Pedrinho's ship and embark on a series of sounds that reveal Amazonian jazz harmonies, groovy guitars, a funky swing, and progressive keyboard attacks. However, the musical journey is not unambiguous in its style, unveiling a walk over the treetops beyond the “Southern seas”. So, we must get lost in the immensity before even commanding words defining this sound. From his cabin, Pedrinho controls his keyboards (an instrument that became so commonplace in the following decades), extracting all his creative power and masterfully conducting a band that swells the musical stew, bringing a new song that was part of the creative process of the eponymous show. An authentic Brazilian gem! Ranging from funk to soul to boogie, jazz and beyond, this little-known album by Amazonas state native Pedrinho Sampaio titled “Um Grito De Guerra” is the collection of musical works created for a theatrical show by the same name. The presentation focused on a few points, but the primary focus was rescuing the Amazonian identity and protecting the environment against Transamazonica. Pedrinho handles producing and arranging, along with keyboards and vocals.

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Nowhere Like Here: Love Songs From The Caribbean & Diaspora

2LP | 2022 | UK | Original (Emotional Rescue)

LP | 1984 | EU | Reissue (Comet)

Release: 2022 / UK – Original

Genre: Organic Grooves, Reggae & Dancehall

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Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (nts).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon. As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

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Ayizan

Dilijans

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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Comet Records present the new reissue out of the Comet new reissue series, Dilijans by Ayizan. A mind-blowing session of Spiritual Jazz recorded in NYC in 1984 led by Haitian genius Alix Pascal blending traditional Ra Ra elements with modal/spiritual melodies. The result was like nothing else coming out of Haiti or the Haitian exile community in the US at the time. Dark, mystical, lyrical and abstract, with its otherworldly shifting rhythms, Dilijans came off like a Haitian version of Bitches Brew. The album sounds less like a stylish mini-jazz performing in a hotel dancehall than like a cry of ancestors emanating from the spirit world to lament over the complications of modern Haitian society.

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LP | 2022 | EU | Original (Musica Macondo)

Brasil Novo

Paul Ortiz Y La Orquesta Son

Release: 2022 / EU – Original

Genre: Organic Grooves

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Musica Macondo unearths eight contemporary Afro Brazilian tracks on the compilation Brasil Novo, disseminating the rich and percussive heritage of black Brazil and Samba De Coco. Selected by DJs Tahira (São Paulo) and Tim Garcia (London), the diversity and positivity of Brazil shines, featuring elements of samba, Candomblé, batuques, jazz, folk and beyond, designed with the esoteric dancefloor in mind. UK label Musica Macondo place their focus on contemporary Brazilian and African diaspora on Brasil Novo, an eight track compilation of discovery, snare and tamborim heavy, showcasing both celebrated and unfamiliar artists south of the equator from the cities of Recife, Rio de Janeiro and São Paulo. With the aim of presenting and thus preserving these moments in music - some tracks like Dona Celia's O Bar and Toró Instrumental's Dunas never been released before - DJs and co-curators Tahira (São Paulo) and Tim Garcia (London) dig deep into the troves, avoiding mainstream Brazilian popular music clichés, and also giving a sense of what fuels their dancefloors and radio sets. It was their joint passion for record collecting, Djing and 'the dance' which, not surprisingly, brought these two leading figures within their respective scenes and cities together. The selection also includes tracks by Grupo Bongar, Renata Rosa and women's Afro Bloco, Ilú Obá De Min. DJ Tahira is a massive Brazilian music fan and has been on a research journey for a number of years, dedicated to the preservation and archiving of music made or influenced by black and indigenous Brazilians. Based out of São Paulo he has a particular interest in the history of Samba de Coco, a folkloric musical form that was very popular in, (and probably originated from), the northeast of Brazil, by slaves and indiginous people from working class backgrounds who came together, making a rhythmical mesh of sounds dating back hundreds of years and allowing them to carve a unique cultural identity. Ignored or disregarded as inferior by Brazil's predominantly white faced recording industry, there are few existing original recordings of this music from the twentieth century, relying instead on oral tradition and carnivals like those in Recife or Pernambuco. In recent times, there has been a flux of contemporary proponents who mix Samba de Coco with other contemporary Brazilian musical forms. Brasil Novo features both the roots, and more divergent fusions. Perhaps the best example of the Samba De Coco of old is from Dona Celia Coquista or Dona Celia do Coco as some people called her. She was a singer from Pernambuco who released only one album Nasci Com Dois Dentes in 2007 despite being an enormously important proponent of Samba De Coco for many years. She sadly passed 4 years later in 2011. The track O Bar features a plethora of local and native percussion instruments and a call and answer harmony of uplifting choir, a cacophony of positivity.

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Los Que Son

LP | 2021 | US | Reissue (Nature Sounds)

Release: 2021 / US – Reissue

Genre: Organic Grooves

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Rare Salsa/Soul gem produced by Joe Bataan, which has been out of print for 50 years. Vocals by Papo Felix. Remastered off original analog tapes. Limited to 500 units - splatter vinyl. Released on Ghetto Records in 1971, long out of print.

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LP | 2018 | EU | Original (Sonor Music Editions)

New Tape

Release: 2018 / EU – Original

Genre: Organic Grooves

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Founded in early 70s by historical Rai TV trumpeter and composer Cicci Santucci (Looking Around, On The Underground Road etc.), New Tape grown up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid Jazz basis of the musicians and theme music inspiration. Andrea Galtieri aka Cavalier Piscopo sequenced the very best shots from the whole label production including exclusive liner notes, with an explosive mix of Jazz-Rock, Bossa, spellbinding groove and raw Experimental stuff.
"A leading figure in the Italian Jazz scene, Francesco 'Cicci' Santucci worked as trumpeter in the legendary Rai TV orchestra for over 20 years. He was renowned for collaborations with such international jazz legends as Lionel Hampton, Gato Barbieri, and Kenny Clarke – that is until his foray into the avant-garde progressive experience of The Living Music, a project founded by his brother Umberto. During these same years, he took part in important Italian jazz sessions like "Looking Around", "Mondo Operaio", and "On The Underground Road", with his close colleague Enzo Scoppa.
It was just around this period of great music production and experimentation that Cicci founded his own label, the NEW TAPE, in the very early '70s. His goal was to dedicate himself to composing library music with a new expression of music, less linked to hard bop or American standards, but rather more focused on the new sounds of the time that brought the listener closer to modern vibes, like jazz-rock and avant-garde music.
"Mixed Grill" opens this series, composed by the maestro's alias, 'Girosan', along with Lesiman (a.k.a. Paolo Renosto) who added a more esoteric and captivating atmosphere, closer to English progressive rock. "Rengran Mix" and "Tropical" follow, with music by Paolo Renosto and the old avant-garde connoisseur, Romolo Grano. This work gave way to electronic instrumentation and weird experimentation, and was built on a rich rhythmical carpet – tropical percussions, rock and blues inspired vibes, sleazy psych, and jazz improvisations. Music from “Rengran Mix” was also used as the soundtrack for the TV programme "Futili Motivi", and also featured the great backing sound of I Marc 4 with the accompaniment of Nora Orlandi's warm vocals.
The trademark of the label, and the most important production, is the fourth album, "Mirage" by Cicci Santucci and Enzo Scoppa themselves. This record is an explosive mix of elegant jazz, funk, and psychedelia, where every instrument finds its expressive space. We can clearly hear the connection on both the 'On the Underground Road' and 'Looking Around' albums, recorded that same year, bringing that unmistakable underground jazz dopeness typical of the magical duo of Santucci and Scoppa.
The last album of the series is "Appunti Di Guerra" by the mysterious 'Ruscigan' – a very obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds properly composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation – an album that foreshadowed what would become industrial music.
With a ridiculously small pressing of only 100 copies per title, NEW TAPE is among the most interesting discoveries to date in terms of original production library music, and as a result, a very respectable journey begins inside the creative underground jazz of 1970s."
Andrea Galtieri

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Vodou Drums In Haiti Volume 2 - The Living Gods of Haiti: 21st Century Ritual Drums & Spirit Possession

2LP | 2017 | UK | Original (Soul Jazz)

Hot Jump-Up Island Sounds From The Caribbean: Mambo, Calypso, Goombay, Mento, Merengue, Cult And Compas Music LP 2

Release: 2017 / UK – Original

Genre: Organic Grooves

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Soul Jazz Records’ new album features the truly intense, hypnotic and fascinating Vodou drums of Haiti, a stunning collection of trance-like rhythms and beats traditionally used to induce spirit possession in the Vodou religion.
Soul Jazz Records first journeyed to Haiti in 1996 to record a series of three albums about Haitian Vodou music and culture. One of these, ‘Voodoo Drums’, featuring the drum rhythms used to bring about spirit possession, struck a striking chord with listeners and amazingly went on to become one of their best-selling albums.
"I haven't heard anything quite like this; the rhythms are very deeply orchestrated yet it also sounds like improvisation. There are tonalities and textures coming from this album like I've never heard. A great album by Soul Jazz, very well recorded. Some of the sounds I have no idea how they are getting them! This album is bending my ear and setting off the dancing devils in my soul!! Unreal!" Guardian
In 2016 Soul Jazz Records returned to Haiti once more to record a new second volume of the same intense Vodou drumming. Recorded in the capital of Port-au-Prince, Haiti, some 20 years after their first visit, this album also features the very same musicians, the Drummers of the Société Absolument Guinin.

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90 Degrees Of Shade

2LP | 2014 | UK | Original (Soul Jazz)

LP | 2024 | US (Now-Again)

Release: 2014 / UK – Original

Genre: Organic Grooves

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Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.

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Joe Bataan

Drug Story

Ghetto Records Presents Eddie Lebron

Release: 2024 / US

Genre: Organic Grooves

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Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. The series concludes with Drug Story - Rare and unreleased material from Joe Bataan and his Ghetto Records vaults, including an entire side of Bataan’s neverbefore- issued Latin Funk that spans the gamut from Salsa to Soul. Drug Story was inspired by true events and ranks highest among Bataan’s finest achievements as the poet laureate of El Barrio. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

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Eddie Lebron

LP | 1970 | US | Reissue (Now-Again)

Banda Da Capital (Live In Brasília, 1976)

Release: 1970 / US – Reissue

Genre: Organic Grooves

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Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. First up in the series - Heavy Salsa and Latin Soul from Puerto Rico-born pianist Eddie Lebron and Orquesta Suave, the album that kickstarted Ghetto Records. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

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Som Imaginario

12" | 2023 | EU | Original (Far Out)

A Rainha Da Viola Caipira

Release: 2023 / EU – Original

Genre: Organic Grooves

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Som Imaginário are the stuff of MPB mythos. Integral to Brazil’s Clube Da Esquina movement in the early 1970s, a heady blend of progressive rock, folk, psychedelia, jazz and traditional Brazilian rhythm flows through the three studio albums the band recorded between ‘70 and ‘73. Flying the countercultural freak-flag amid the context of military dictatorship, the Brazilian prog lords shared much of the sense of experimentation and bountiful fuzz bequeathed by their tropicalismo forbearers. But armed with genius composers, arrangers and stupendously high-level musicianship, Som Imaginário introduced a potent harmonic complexity to Brazilian popular music, which would inspire generations of artists to come.

On 4th October 1976, having finished a spell of recording and touring with Milton Nascimento, Som Imaginário performed a concert in celebration of Nature Day in Brasília. The recordings of the show would become “Banda Da Capital”, which, for the past half century, has laid dormant, waiting for its mystical power to be untapped.

In the band that day were original members Wagner Tiso and Fredera, joined by Nivaldo Ornelas, Paulinho Braga and Jamil Joanes. Operating within such a hugely creative and free-spirited scene meant line-up fluctuations were inevitable and former Som Imaginário members also include Laudir de Oliveira (who left to join Chicago), Nana Vasconcelos (who also moved to work in the US), Zé Rodrix, Robertinho Silva, Novelli and Toninho Horta.

Titled after the Belo Horizonte radio station where they would practice during their youth, the show opens with “Rádio Guarany”, an improvisation led by Paulinho Braga and Nivaldo Ornelas. The track morphs into Nivaldo Ornelas’ composition “Xa Mate”, which also opens Milton Nascimento’s Milagre dos Peixes ao Vivo album, featuring Som Imaginário and a 32 piece orchestra.

Having grown up together in Minas Gerais, composer, arranger and keyboard player Wagner Tiso had been another close musical partner of Milton Nascimento’s. Some of their work together includes many of Bituca’s most beloved albums, including Clube Da Esquina, Milton Nascimento (1970) and Maria Maria / Ultimo Trem, as well as Native Dancer: Nascimento’s album with Wayne Shorter.

Explaining the inspiration behind two of the tracks on Banda Da Capital “Igreja Majestosa” (written with Nivaldo Ornelas) and “Os Cafezais sem fim”, Tiso remincies:

“On Sundays I used to watch the coffee plantation workers entering the church. I´d see them working all week, in their humble, dirty clothes. But I was always enchanted by their immaculate dress on Sundays. Taken from a line in a poem by my father, which became the hymn of the city of Três Pontas, the song “the majestic church and the endless coffee plantations ” became sacred for me, because it came from something joyful, from the workers.”

One of the album's most tender moments is a beautiful rendition of the post-tropicalista folk-rock classic “Sabado”, written by Fredera for Som Imaginiaro’s debut album. The lyrics are typical of the “desbunde”: those on the Brazilian left whose response to authoritarianism was a politics of pacifist, often psychedelic, non-conformity (similar to that of “dropping out” in the US)...

“Eu quero o céu e vou com guizos nos sapatos / Minha roupa em farrapos coloridos vou rasgar / E vou dançar entre os cristais azuis do tempo e esquecer”

“I want the sky and will go with bells on my shoes / I will tear my clothes into colourful rags / And I will dance among the blue crystals of time to forget”.

Jamil Joanes, best known as a member of Banda Black Rio, is another Minas Gerais native. His composition for the album is “Imaginados”, a stunning unplugged guitar and vocal performance, highlighting Som Imaginário’s south-eastern home state’s influence on their sound.

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Helena Meirelles

LP | 2021 | EU | Original (Vampisoul)

29,74 €* 34,99 € -15%

Hoy Como Ayer Colored Vinyl Edition

Release: 2021 / EU – Original

Genre: Organic Grooves

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It's About Time To Uncover The Most Unknown Brazilian Music Style. Unlike Other Brazilian Musical Traditions As Samba And Bossa-Nova, Never Ever Anything Of Caipira Music Has Been Released Outside Brazil. Repairing This Huge Gap, Vampisoul Presents Helena Meirelles - A Rainha Da Viola Caipira, A Stunning 25-Track Compilation Of The Revered Queen Of The Viola Caipira, Mrs Meirelles.A Stunning Compilation Of The Revered Queen Of The Viola Caipira, Helena Meirelles, Once Included In The Top 100 World's Guitar Players By Guitar Player Magazine.On This Double-Lp Anthology You Will Face Some Of The Most Expressive Helena's Creations. 'Guaxo', For Examplecontains An Ultra-Melodic Guitar Riff That Will Stick In Your Ears For Ages While 'Mercedita' Has An Evolving Rifferama. 'Saudades Do Meu Velho Pai', On The Other Hand, Is A Typical Baiao, A Very Peculiar Northeasternrhythm In Brazil, De-Constructed By Her Very Own Style. 'Flor Da Guavira' Is A Delicious Caipira-Ballad. These Are Only A Few Great Ones, Amongst So Many Other Exquisite, And Unusual Delights.A Fascinating Journey Into One Of The Lesser Covered Brazilian Genres, Caipira, Rich In Folk And Country Music Elements. Reissued On Vinyl For The First Time.Considered By The Guitar Player Magazine, One The 100 Greatest Guitar Players Of All Time, Don't Miss The Chance To Discover A Brand New Kind Of (Brazilian) Folk Music.

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Hermanos Gutiérrez

LP | 2019 | EU | Reissue

8 Años Blue Vinyl Edition

Release: 2019 / EU – Reissue

Genre: Organic Grooves

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Hermanos Gutiérrez

LP | 2017 | EU | Reissue

Túnel Acústico Pink Vinyl Edition

Release: 2017 / EU – Reissue

Genre: Organic Grooves

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Marcos Valle

LP | 2024 | WW | Original (Far Out)

As Palavras Volume 1 & 2 Pink Vinyl Edition

Release: 2024 / WW – Original

Genre: Organic Grooves

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No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.
Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.
With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.
“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”
A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.
By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.
Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.
Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.
Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.
On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.
The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).
The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.
Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

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Rubel

2LP | 2024 | UK | Original (Mr Bongo)

Release: 2024 / UK – Original

Genre: Organic Grooves

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Disco É Cultura Volume 2 HHV Exclusive Crystal Clear Vinyl Edition

LP | 2024 | EU | Original (Mad About)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Limited to 200 copies on crystal clear vinyl. Only available at hhv.de

A tribute to a glorious and sophisticated era in Brazil music.

"Disco é Cultura, vol. 2" brings 15 tracks of the funkiest Brazilian music from the 70s and 80s. Soul and Funk were taking the world by storm in the 1970s. Brazilians developed their own sound by combining influences from Funk and Soul music from abroad to create something uniquely Brazilian.

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LP | 2024 | BR | Original (Discos Nada)

Pra Quem Sabe Das Coisas

Release: 2024 / BR – Original

Genre: Organic Grooves

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One of the rarest and most enigmatic LPs in the Brazilian discography, Prá Quem Sabe das Coisas is a collective album that gathered a group of students from São Paulo Law School, supported by the organist/pianist Renato Mendes, one of Samba-Jazz's most important names. Released in 1973 by the label Ebrau, finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971 but put in the market as LP only two years later. This reissue comes with an original insert replica with lyrics and an extra insert with unseen photos and an exclusive interview that the journalist and researcher Marcelo Pinheiro did with CAU Pimentel adding even more to the richness of this workpiece, composed by many writers and performers in 1971.

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Tudo Ben (Jorge Ben Covered)

2LP | 2023 | UK | Original (Mr Bongo)

A Divina Comedia White Vinyl Edition

Release: 2023 / UK – Original

Genre: Organic Grooves

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Jorge Ben is surely one of the world’s greatest all-round musical artists. He is internationally renowned and vastly influential as a vocalist, musician, performer and phenomenal songwriter. Famed for penning ‘Taj Mahal’, which was the source for Rod Stewart’s ‘Do You Think I’m Sexy?’, and also ‘Mas Que Nada’, one of Brazil’s most iconic anthems, Jorge Ben is a powerful musical force. A simple glance at his impressive back catalogue reveals a master of his craft, with a depth and quality that is seldom paralleled.

For 'Tudo Ben' we take a side-step, focusing on Jorge Ben’s songs that have been performed by other artists. Complied by Mr Bongo, Greg Caz and Sean Marquand, this collection features the Brazilian legends Elza Soares, Claudette Soares, and Wilson Simonal, alongside prodigious artists such as Marijô, Os Brazoes, and Doris Monteiro to name but a few. The selection covers a wide range of genres including samba, bossa nova, MPB and batacuda workouts. Many of the songs featured have become staples in Mr Bongo DJ sets over the years and are some of our most loved classics. As with many of history’s great songwriters, Jorge Ben’s songs transcend genres and styles, they can be covered and reinterpreted, yet the quality of the writing holds up to the standard of the original.

In the dark days of the mid to late 2000s when the end of vinyl seemed inevitable, Mr Bongo released 'Tudo Ben' on CD only. Years later, we finally get to put this right and present it for the first time on vinyl with alternative artwork by Mr Krum.

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Mutantes

LP | 1970 | EU | Reissue (Vinyl Lovers)

Araca Azul Colored Vinyl Edition

Release: 1970 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Originally released in 1970 this was the third album from Os Mutantes, the geniuses of wacked out Brazilian psychedelic rock. They may have been trying to pay homage to their better known icons back in the States, but in doing so they created something that went beyond all that until, 30 years later, they became the ones that everyone was trying to imitate. This album, further testimony to their limitless creativity and considered by many to be their best, was recorded during the height of the Brazilian military regimes crack down on artists, and fellow members of the Tropicalia movement, Caetano Veloso and Gilberto Gil had already been sent into exile in the UK.

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Caetano Veloso

LP | 1972 | EU | Reissue (Lilith)

Som, Sangue e Raca Blue Vinyl Edtion

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Apparently when this album was originally released in 1972, confused and bewildered fans, expecting more of the same found on Transa, released earlier that year, returned the album to the shop, demanding a refund. Meanwhile, critics raved, and many now consider Araçá Azul known as CAETANO VELOSO’s “experimental album” to be one of his great creative moments. To be fair to his many fans, it was a stark departure from his previous releases, which were decidedly more pop, but Veloso had been through a lot recently, having just returned from political exile in the UK, so it is no wonder that the artist was feeling a bit like he needed to fly in the face of conformity. In Veloso‚s own words, “I made this album without thinking, without taking the time to stop to think.” He refers to the album’s “insolent experimentalism” and calls it a kind of “last stand.” Color vinyl version.

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Dom Salvador e Abolicao

LP | 1971 | EU | Reissue (Mad About)

Discos Resaca Collective & Mariposas Del Alma

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown.

Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

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Y Te Cuento

LP | 2024 | US | Original (Discos Resaca)

LP | 2023 | EU | Original (Rey Record)

Release: 2024 / US – Original

Genre: Organic Grooves

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The Discos Reseca Collective is a collective of songwriters and musicians whose sounds are distinctly from the Bay Area: mixing traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Based in the Bay Area (Oakland, East Bay), Mariposas Del Alma are fronted by the Meza-Blanco Sisters. Jasmin, Nathaly, and Marina captivate the audience with their soulful vocals and powerful harmonies. Having grown up in a home with a musician father, and a lineage (Maternal Grandfather) that traces back to the days of the Trios all throughout Latin America—it was only natural that the sisters became the amazing vocalists they are today. "Music by the collective Discos Resaca—Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond... Y Te Cuento (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history."—KQED

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Olaya Sound System

Suenan Los Olaya

LP | 1977 | EU | Reissue (Mr Bongo)

Release: 2023 / EU – Original

Genre: Organic Grooves

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OLAYA SOUND SYSTEM, Peruvian band founded 15 years ago and with a discography of 6 CDs, present their first vinyl release, comprising some of their most outstanding productions recorded between 2015 and 2022. Their songs explore the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Just like Chico Trujillo, Frente Cumbiero or Son Rompe Pera are also doing, OLAYA SOUND SYSTEM are reaching a global impact modernizing tropical music. Olaya Sound System was founded in Chorrillos, Lima (Peru), in 2009 and since then they have developed a very particular exploration of the sounds of Andean cumbia and chicha, with elements of psychedelia, reggae and Afro-Latin rhythms of global relevance, projecting with its music an innovative new chapter in the development of Peruvian tropical music of the 21st century. Both on the dance floor and in meditative listening, Olaya Sound System take us with this LP on a journey through bucolic landscapes of the Andes, the Amazon and the infinite Pacific Ocean, essential locations that constitute their native Peru and that have inspired very perceptibly their sound. Cultivators of a very particular tropical musical style, they collect and adapt the Peruvian traditions of the cumbia, chicha and huayno genres, and then blend them with a melting pot of contemporary Latin and global influences such as reggae, salsa, rock, among others. This album is released on the recently revamped Peruvian label Rey Record, one of the essential and most iconic record labels during the golden days of cumbia and chicha, decades ago.

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Grupo Los Yoyi

Yoyi

LP | 2024 | EU | Original (Plastilina)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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To launch Mr Bongo’s new Cuban Classic Series, we are thrilled to present this sought-after, psychedelic-funk masterpiece. A fusion of traditional Latin and Afro-Cuban rhythms meets disco, jazz, and funk, with hints of 70s soundtrack productions, this much-loved cult album featuring nine predominantly instrumental tracks is a real treasure that deserves a much wider appreciation. One look at the trippy artwork and you know it is going to be special.

Originally released in 1977 on Areito Records, a sub-label of the state-owned label Egrem, it has become one of the rarest (even in Cuba) and most in-demand albums to come from the label. It is the sole album from Grupo Los Yoyi and was composed, orchestrated, and produced by the mysterious, Jorge Soler Leó.

After Castro ring-fenced Cuba with an embargo on, among other things, Western music, the ‘Yoyi’ album had a sound more left of centre than what was normally allowed to be recorded there at the time. It subtly and covertly flirts with disco, jazz-funk, and electronic sounds coming from the US and Europe. It is probably best known for the space funk, bubbly club cut 'Paco La Calle’. A track that was edited in 2008 by the fantastic DJ / producer, Nick the Record, and one that is guaranteed to set a discerning dancefloor alight. However, ‘Yoyi’ is far from a one-track album. Other highlights include, 'Banana’, with its call and response trombone and horn section, squelchy keys, pulsating breaks and percussion, and a loose, floating vocal arrangement. 'Tu No Me Puedes Conquistar' is a beautiful, bouncing plodder with a variety of instruments interchanging as the track progresses. 'Ruta 30' takes things in a straighter Latin direction, which we are accustomed to from Cuba at that time, yet it is still full of personality, treats and vigour. Take our word for it, this album is strong throughout.

This is one of our favourites and most beloved albums to come out of Cuba and is the perfect flagship for our Cuban Classics Series. Look out for plenty more to come real soon.

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Kanaku Y El Tigre

Caracoles

LP | 1979 | EU | Reissue (Legacy)

Release: 2024 / EU – Original

Genre: Organic Grooves

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The members of the Peruvian psychedelic folk-pop band Kanaku y el Tigre never thought that what started as a fun project among friends would become one of the most acclaimed bands in Latin America. Their first single, "Bicicleta", was made without the pressure of trying to fit into the local scene. This attitude fueled the creativity with which they managed to create an important space for themselves in the local music scene. "Bicicleta" is the city of Lima, the constant search for an identity, the illusion, the monsters, the carbon monoxide, the belonging and the absence.

The indie folk and experimental pop group Kanaku y el Tigre has a 15-year artistic career and is considered one of the most influential contemporary bands in the Latin American music scene.

The band has been part of festivals such as Rock al Parque and Estéreo Picnic in Colombia, Vive Latino in Mexico, Río Babel in Madrid, Primavera Sound in Barcelona, and has toured in other countries such as Argentina, France, and Chile.

Additionally, they have shared the stage with Aterciopelados and collaborated with Jorge Drexler, Kevin Johansen, Miki Gonzáles, Leonor Watling, among other renowned musicians from Latin America.

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Rockcelona

La Bruja

Cumbiamuffin Splatter Vinyl Edition

Release: 1979 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Considered by many worldwide collectors as one of the best hard-rock albums ever, Rockcelona's "La Bruja" saw the light in 1978 and sank without trace. The band came from Barcelona and could be seen as one of the early Spanish proto-punk bands along with La Banda Trapera Del Rio. Killer sound with primitive English/Spanish vocals and heavy, and I mean Heavy fuzz-wah wah assaults from start to finish!! A must!!!

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Cumbiamuffin

LP | 2022 | EU | Original (Sounds And Colors)

Ray Perez Y El Grupo Casabe

Release: 2022 / EU – Original

Genre: Organic Grooves

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LP+7" | 2022 | EU | Original (Elpalmas Music)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Grupo Casabe can lay claim to being Ray Pérez’s last great group. Fresh from the successes of Los Dementes and Los Kenya, Pérez was at the forefront of salsa in the mid-70s, and still experimenting with música bailable and all the danceable hornblazing styles that were beginning to be known collectively as salsa. The finest tracks of this short-lived combo, active from 1974 until 1975, are now being celebrated by El Palmas Music on a new compilation simply titled Ray Pérez y El Grupo Casabe. Pérez was bandleader for an astonishing number of groups, which was partly due to his in-demand status, with each move to a new label meaning he needed a new band name. Such was the case with Ray Pérez y El Grupo Casabe, formed when CBS came calling. Their line-up built on his previous groups, with both a drum kit and percussion for additional power, with Pérez himself belting out those trusty piano montuños, however there was one significant change, with Pérez using saxophones for the first time, alongside his usual brass section of trumpets and trombones. With him for the ride were vocalists including Rodrigo Perdomo (brother of “El Negrito Calavén”, from Pérez’s earlier group, Los Calvos) and Rafael Morillo. The compilation begins with “María Antonia”, the first 7” Grupo Casabe released in 1974. Instantly, it’s clear why Pérez is so loved in salsa circles, for this is salsa of the highest order, the focus switching between piano, vocals and brass effortlessly, while the drums restlessly inject the song with energy; then there’s the breakdown, Rodrigo Perdomo stretching his vocals to a rasp and throwing the brass into an extended passage; suddenly, they stop and Ray, El Loco as he was affectionately known, lets loose with a piano solo that’s elegant in its efficiency, before the band return for one more trip round the salsateca. 1974 and 1975 were important years in the trajectory of salsa. It was this period when salsa became a collective name for urban orchestras playing Latin music styles like son, guaganco, mambo, cha-cha-cha and rumba. Though undoubtedly salsa – Ray was a “rey de salseros” after all – there is so much nuance in the music. “Campesino Nuestro” is a slow-building rural son, taking the Cuban countryside to the dancefloor; “Santa” and “Oye Nena” are twisting guaguancos, the former possessing one of Perdomo’s finest vocal performances, and the latter the finest showcase for the band, with percussion, brass and piano on fire. “La Reina”, a danzón, show that the band can do the slow numbers too, and then there’s “Sábado En La Tarde”, Perez’s take on surf with a melody seemingly taken from the finest Steve McQueen crime caper. There are few that come close to Ray Pérez for musical inventiveness and a sheer ability to keep dance floors moving. If Ray had been born and raised in New York then no doubt he’d be regarded as one of salsa’s pioneers. He’s had to work harder for his reputation, but there can be no doubt, he deserves to be one of the greats, and his work with Grupo Casabe is even more proof.

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Antal Presents Beyond Space & Time Volume 2

2LP | 2022 | EU | Original (Beyond Space And Time)

Trujillo, Peru 1971 - 1974

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Regular Edition WITHOUT the 7".

Rainbow Disco Club and Rush Hour, a long-standing friendship that transcends continents! House, disco, new wave, Caribbean, rare groove, leftfield.. Antal compiles the second release on "Beyond Space And Time", loaded with personal choice cuts.

Internationally recognised and much-loved festival from Japan, Rainbow Disco Club’s offshoot project "Beyond Space And Time" record label presents their sophomore release! Following the work by DJ Nobu, their second compilation has been compiled by none other than Antal. Also known as the festival's headliner and the man behind Amsterdam record shop/label Rush Hour, all 11 tracks are selected by Antal in a 2 x 12-inch + bonus 7-inch format. From local Dutch newcomers to '80s Japanese cult music, rare grooves to danceable house music, and rare Caribbean soul, this compilation is a portrait of music enthusiast Antal Heitlager’s enormous collection and 30-year DJ career, a work of art that can be enjoyed by all music fans!

An afro electronics track recommended by South African collector DJ Okapi, who co-produced the masterpiece compilation "Pantsula!: Rise Of Electronic Dance Music In South Africa: 1988-90" released in 2017, which brought Kwaito back onto the map. A-1

Improvisation Organic Deep House track by New Zealand’s newcomer. A-2

A rare breezin' boogie by Larry Heard’s alias Trio Zero from 1989. Highly sought after by all collectors as a cult Balearic track. Previously unreleased version. B-1

From the 2015 album by L.A. funk maker DAM-FUNK on the prestigious Stones Throw label. LO-FI beats and synthetic breakdowns that are reminiscent of early Rush Hour works and ‘90s house. B-2

The debut single of Japanese idol unit, Shohjo-Tai. Haruomi Hosono also produced some of their tracks later on in their career. Japanese new wave disco from 1984. C-1

The soundtrack from the Japanese manga "Touring Express". RDC fans will recognize this track from the final hours of the festival. A nostalgic oriental disco from 1985. C-2

80s Silky Mellow Soul by Connecticut jazz vocalist Dianne Mower who also contributed to the re-press of the prestigious Numero Group. D-1

The original version is a masterpiece from 1983 by Zouk singer Jocelyn Mocka of French Guadeloupe. This edit still very much emphasizes an emotional mid-tempo Caribbean soul, nicely reconstructed by Rush Hour's Bonnefooi. D-2

The first 500 copies will include a limited 7-inch bonus disc featuring a Dutch artist.
Modal jazz track from the Han Litz Group led by Han Litz, a jazz flute player representing the local Amsterdam scene. A-1

A freestyle percussion jam track inspired by Brazilian and Klaus Weiss music. Los Calxunxos Tuyos, derived from the band Zuco 103 formed by students of the Rotterdam Conservatory. B-1

A mysterious electronic pop floating, between the dance floor and easy listening by Rush Hour's Kamma. B-2

A total of 11 tracks from all types of genres and generations, a true masterpiece and representation of Rainbow Disco Club’s vision “Beyond Space And Time”. Bringing you the love from Amsterdam to the world!

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Manzanita Y Su Conjunto

LP | 2021 | Original (Analog Africa)

7"+Book | 2021 | US | Original (Uprising Music)

Release: 2021 / Original

Genre: Organic Grooves, Rock & Indie

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I was in Lima, hanging out with collector-extraordinaire Victor Zela, who had spent the previous few years pouring his passion for Peruvian Cumbia into the blog „la cumbia de mis viejos“, a trove of incredible music. But after the birth of his first child, his priorities shifted and he decided to part with some of his rarest LPs. I was one of the lucky few given an early chance to examine his treasures, and when I picked up the album Manzaneando com Manzanita, Victor said: “Take it! its one of the best LPs ever recorded in Perú … easily in the top five”. That was all the encouragement I needed … two years later many of the songs from that masterpiece have made it onto Manzanita y su Conjunto, a compilation of electrifying Cumbia sides from Manzanita’s golden era.

Berardo Hernández – better known as Manzanita – first surfaced during the psychedelic Cumbia craze. At the head of the scene were the magnificent Los Destellos, whose leader, Enrique Delgado, was such a six-string wizard that other guitarists found it impossible to escape his shadow. But when Manzanita arrived, his electric criollo style sent shockwaves through Lima’s music scene and posed a serious threat to Delgado’s dominance as king of the Peruvian guitar.

Manzanita had come to Lima from the coastal city of Trujillo, five hundred miles up the coast – a place where Spanish, African and indigenous populations had been living and making music together for centuries – and came of age at a time when the first wave of psychedelic rock from the US and UK was starting to sweep the airwaves. But the sounds of Cream and Hendrix disappeared from the radio just as quickly in 1968 when Juan Velasco seized control of the country in a military coup. The new regime, which favoured local traditions over cultural ‘imports’ from the north, was a blessing in disguise for the Peruvian music scene.

Record labels flourished as new bands, raised on a hybrid diet of electric guitars and Cuban rhythms, rushed in to fill the vacuum created by the lack of imported rock. A new genre, known as Peruvian cumbia, was born and Manzanita quickly became one of its most original voices.

Starting in 1969, Manzanita y su Conjunto released a steady stream of singles that used Cuban guaracha rhythms as the foundation for dazzling electric guitar lines. After countless 45s and several years on the touring circuit, the band signed to Virrey, an important Peruvian label, and recorded two LPs acknowledged as masterpieces among aficionados of tropical music. Most of the songs on Analog Africa’s new compilation Manzanita y su Conjunto are drawn from those legendary sessions of 1973 and 74.

Although he scored a few more hits in the later 70s, his dissatisfaction with the music industry caused him to withdraw from the scene for several years; and when he finally retired for good, the golden age of Peruvian cumbia was a distant memory. But when Manzanita was at the top of his game he had few equals. Victor Zela was right: this is some of the best music ever recorded in Perú.

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Stretch & Bobbito

Que Bonita Bandera

The Legend Of The Sun Virgin

Release: 2021 / US – Original

Genre: Organic Grooves

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Vocals: Jeimy Osorio (Netflix "Celia Cruz" series), Latin Grammy Award winner Mireya Ramos, Grammy Award nominee Danny Rivera, Ismael Cruz Cordova (Lord of the Rings), Bomba singer Chamir Bonano, and newcomer Sabrina Cintrón. Cameos: Olympic medalist Laurie Hernandez, actors Rosario Dawson (Disney+ “The Mandalorian”) , Lauren Luna Velez (Into the Spider-Verse), Oscar nomineeRosie Perez, Ramon Rodriguez (hbo "The Wire,"Transformers II),Freddy Rodriguez(CBS "Bullet"), Justina Machado (CBS"One Day At A Time"), Modesto Lacen (Netflix "Celia Cruz" series), artist José Parlá, hip hop legends Crazy Legs and Tony Touch, former And1 Mixtape star Tim “Headache”Gittens, and DJ Janzism de Puerto Rico. 100% of the net profits will be given to Afro-Boricua grassroots programs based in PR via the non-profit La Borinqueña grants program.

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Yma Sumac

LP | 1955 | EU | Reissue (Ellas Rugen)

12" | 2020 | EU | Original (Orfeo)

Release: 1955 / EU – Reissue

Genre: Organic Grooves

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With the intention of celebrating the music of Yma Sumac and continuing to spread her legacy, Ellas Rugen Records reissues on vinyl one of the highest points of her career: "Legend of the Sun Virgin", recorded in 1952 in the United States by Capital Records. The production, which she signed with her husband and close collaborator, the composer Moisés Vivanco, reflects the exotic proposal of Sumac, a pioneer in World Music and a true ambassador of Peruvian culture in the world. True to the spirit of this new record company, the vinyl has been carefully edited and it includes unpublished photos from Sumac's personal archive, an informative text written by renowned historian Carmen McEvoy and a state-of-the-art sound remastering. In addition, through the pre-sale, which has already started through BandCamp, collectors will be able to access a limited edition that includes a colored vinyl. With this, Ellas Rugen Records begins its journey with the aim of reclaiming and giving a new life to the great Latin American artists of the second half of the 20th century. In addition to Sumac’s reissue, the label already has its next releases in process, which will focus on iconic singers from Venezuela and Mexico. “Due to the lack of cultural preservation policies and the negligence of small record labels from the 60s, 70s and 80s, a lot of our musical legacy is being lost. The current low profitability of these projects means that large companies forget productions that still have a lot to contribute. This is why this label aims to honor these artists by reissuing, revaluing and bringing their best productions to new generations”, says Jalo Nuñez del Prado, music producer, founder and director of Ellas Rugen Records.

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Jaime Roos

Siempre Son Las Cuatro

LP | 2020 | EU | Original (Orfeo)

Release: 2020 / EU – Original

Genre: Organic Grooves

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Candombe fusion, art rock and psychedelia with punk attitude. With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music. Siempre son las cuatro, his fourth album, recorded in 1982 in Montevideo after a long stay in Europe, was the work that started to build Roos’ artistic personality and the first step towards mass appeal in his country. A psychedelic album with dark and somber tones but also full of groove and punk defiance, that is quintessentially Uruguayan. 500 copies. 140 gramms vinyl, Poster included

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Jaime Roos

Mediocampo

LP | 1973 | EU | Reissue (Elemental Music)

Release: 2020 / EU – Original

Genre: Organic Grooves

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New Wave and Afrofuturism With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music. Released in 1984, Mediocampo absorbs the new wave trend in a unique way, blending the sounds of synths and electric guitars with Afro drums and Latin rhythms. The songs jump from candombe to rock, from ballad to murga roots, from pop to experimental music. The album paved Roos’ path to stardom in Uruguay and is considered nowadays as one of his most substantial works. 500 copies. 140 gramms vinyl, 12 page booklet included!

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Tom Ze

Todos Os Olhos

LP | 2023 | EU | Original (Grosso!)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Todos Os Olhos is one of the most important Brazilian records of all time. Tom Zé is considered the most “paulista” of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure Sao Paulo.

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The Mantecas

Black Nile

Guilherme Coutinho E O Grupo Stalo

Release: 2023 / EU – Original

Genre: Organic Grooves

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Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. Not-to-be-missed!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: Trypl Horns: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café,

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LP | 1978 | UK | Reissue (Mr Bongo)

Sound Ancestors (Arranged By Kieran Hebden) Silver Vinyl Edition

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.

It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.

The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.

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Madlib

LP | 2021 | US | Original (Madlib Invazion)

30,39 €* 31,99 € -5%

Jalea Real - Seleccn De Fuentes Y Mixtos

Release: 2021 / US – Original

Genre: Hip Hop, Organic Grooves

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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

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Tribilin Sound

LP | 2022 | EU | Original (Eck Echo)

30,39 €* 31,99 € -5%

LP | 1968 | EU | Reissue (Elemental)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound.Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno.Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional.Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers he...

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Marcos Valle

Samba 68

Caetano Veloso Remastered Mono Edition

Release: 1968 / EU – Reissue

Genre: Organic Grooves

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Elemental Music, together with Universal Music Spain presents a new vinyl reissue of “Samba ’68“, the only album released on the Verve label by prolific Brazilian singer Marcos Valle. In 1968, Valle was commissioned by Verve to record his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market. Marcos’ rapid and stunning artistic growth is apparent on this brilliant Bossa Nova album. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle tunes) will enjoy it immensely, for “Samba ’68” is definitely one of the ultimate “loungy” records. “Samba ‘68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Marcos Valle interprets eleven of his own songs, including Brazilian standards like ‘Chup Chup, I Got Away,’ ‘Batucada’ and ‘So Nice (Summer Samba),’ as well as new tracks like ‘Crickets Sing for Anamaria’ and ‘The Answer.’ The vocal harmonies of his wife (the Anamaria of the song title) provide a beautiful counterpoint to Valle’s voice on several tracks, making Samba ‘68 one of the best Brazilian crossovers of the 1960s.”(John Bush, AllMusic) Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country’s music world from the early days of the Bossa Nova craze well into the fusion-soaked sound of ‘80s Brazilian popular music. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Zé. Valle is one of the most important and popular performers in the history of Brazilian pop.

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Caetano Veloso

LP | 2019 | US | Original (Third Man)

LP | 1970 | EU | Reissue (Far Out)

Release: 2019 / US – Original

Genre: Organic Grooves

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The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.

Through satirizing symbols of their homeland and rejecting a pre-established national culture, the Tropicalists constructed a new form of “aggressive nationalism” outside of an innately anti-imperialist Left and an unthinkingly patriotic Right. By refusing to accept underdevelopment as their identity and excitedly “devouring” disparate culture (low and high brow, domestic and foreign, etc.), the Tropicalists carved out a unifying creative space, a universal sound, different from the older, bourgeois bossa nova movement and the newer, undiscerning rock movement.

Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália.

The songs on this album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends

in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

Superbacana (translated as “Supergroovy”) follows a hyperbolic superhero’s use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity.

Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

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Agustin Pereyra Lucena

DJ Tudo E Sua Gente De Todo Lugar

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

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Pancada Motor - Transformacao E Cura

2LP | 2022 | EU | Original (Mundo Melhor)