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Search Result for Genre WORLD
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PINCHE 003LP
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The pachuco mambo is a Mexican-American craze dance music that alternated and combined Afro-American and Afro-Caribbean styles. Started in the late 1930s, Mexican-American youth, rejected by both Mexican and American society, invented a counterculture that expressed social tension through own language ("Caló"), fashion, culture, dances, and musical tastes, all exciting and untamed. The pachuco mambo exuberantly transformed the painful experience of Mexican-American fans who felt trapped in the midst of two cultures, and brought together the Chicano, Anglo, and African-American audience, laying the foundation for Chicano music. Main stars of the genre are featured in this collection: Don Tosti, a Mexican-American composer from Texas, who moved to Los Angeles as a teenager, and Lalo Guerrero, from Arizona. Both of them were pivotal and created Mexican blues jump, that is, the pachuco mambo or boogie, which used rhythms of swing, boogie woogie, and rumba with lyrics in Spanglish and in Caló, the Spanglish language of the Pachucos. Tosti's "Pachuco Boogie", recorded in 1948, was the first Latin song to sell a million records. Also features: Don Tosti Y Su Conjunto, Conjunto Alamo, Conjunto San Antonio Alegre, Don Tosti's Pachuco Boogie Boys, Don Tosti's Quartet, Don Tosti Y Su Trio, Jorge Cordoba, Los Chucos, Lalo Guerrero Y Sus Cinco Lobos , and Los Hermanos Yañez Y Pedro Ayala. Edition of 500.
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UOVR 017LP
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More torrid tropic-o-Latin bombs! A collection of fast, hot, and intense Latin songs played by Cuban, Puerto Rican, Venezuelan, Mexican, and North American wild dance orchestras, recorded in the 1950s/1960s and originally released on vinyl and 78rpm shellac records. Savage bongos, volcanic trumpets, atomic rumbas, mambo inferno, and wild conga for a successful party of exotic ecstasy. Ultra-rare gems extracted from 45s and 78s records released in the 1950s and early 1960s by obscure record labels. Features: Hermanos Castro, Los Caciques, Los Cangaceiros, Don Barreto, Orquesta Ciudad Trujillo, Tony Toran, Chico O'Farrill, Humberto Morales, Alberto Zayas, and Trío Matamoros.
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AZIZA 002LP
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Noir C'est Noir second volume -- special issue: garage, psych, and prog! A deep exploration of the vast archives of all across Africa for a series of selections of dynamite fusions that have barely been assembled together previously, such as soul, jerk, psych, beat, garage, and others. All cuts reissued for the first time. Noir C'est Noir series hopes to bring joy and satisfaction to the fans of the lost music from all across Africa, from north to south, from east to west. Congo, South Africa, Benin, Tanzania, and so on -- up to 11 different countries from the continent are represented. These recordings were made during the '60s and '70s from a time when African people were willing to celebrate the Pan-African identity within their own conception of music. This second volume of Noir C'est Noir concentrates on garage punk, psychedelia, and prog genres... But there's a lot more to be heard. All the 14 songs reissued here appear to the international public for the first time. Features: Wrong Notes, Narma Samith, Orquestre Veve, Os Rebeldes, Sunny Blacks Band, Vum Vum, Simiao, Tall Enma & His Skipper, Os Impacto, Gino Garrido e Os Psicodelicos, Teta Lando, Os Inflexos, Shar' Habeel, and H2O.
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UOVR 018LP
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A collection of nine extremely beautiful gems from the 1930s, the best era of Cuban music, and one more explosive danceable track from 1947. Cuban son, pregón, rumba, and conga, played by the most exquisite orchestras of this period, Cuban artists who recorded their eternal masterpieces in Cuba, The United States, France and Spain. Most of the tracks appear on vinyl for the first time here. Extremely beautiful gems extracted from 78s records released during the 1930s and 1940s by Cuban artists. Features: Weeno, Bravo Y Gody, Orquesta De Óscar Calle, Trío Matamoros, Cuarteto Caney, Orquesta De Paulina Álvarez, Sexteto Columbia, Orquesta Chepín-Chovén, Orquesta De Lázaro Quintero, Orquesta Estrellas Cubanas, and Orquesta De Don Azpiazu.
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KONGAMATO 012LP
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African jewels for the dancefloor! The African soul is here, insinuating its capacity for involvement and emancipation all the African territories. Not only Nigerian or Ghana music "had" it -- These ten tracks of Afro-funk, boogie, and soul are full of hypnotic grooves, like a mantra made for the dancefloor. Every track is worth the dive, All cuts are reissued for the first time ever. Suspend real-world time, paving the way for another way of absorbing dance music. Get ready to hear and penetrate deep into the admirable atmosphere of Zou Zou Zou! Features: Jo Bisso, François Lougah, The Movers, Ngaydo Ba, Joe Mensah, Kapingbdi, Carmen Ezumah, Eliott, Geoffrey Oryema, and Les Black Styl.
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GB 054CD
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TootArd are a young, trailblazing ensemble from the occupied Golan Heights who deftly fuse Levant-tinted desert blues, melodic psych-rock, morphed reggae, and classical Arabic modalities. Their second album, Laissez Passer, is their debut international release and one of the first such releases from their homeland. Restless, buoyant, and eclectic. A Laissez Passer. Let him pass. That's the document the stateless carry. It's all that those from the occupied Golan Heights possess. Since 1967 the area has been part of Israel, but the inhabitants aren't Israelis. They don't have any citizenship. They don't have passports. Just a Laissez Passer. And for the members of TootArd, who all grew up in the village of Majdal Shams in the Golan, it's a very apt name for their second album. "Laissez passers are special situation papers," explains singer and guitarist Hasan Nakhleh. "It took us a while to realise the effect. We're permanent residents in Israel, but not citizens. We have no travel documents. When we travel we need the laissez passer. With no nationality, we're officially 'undefined.'" But in statelessness, the five-piece has discovered musical freedom. TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside. "What we do now is the result of everything we've ever done and heard," Nakhleh says. "We began listening to Tuareg music and we fell in love with it. It resonated with us. North African music is something we've heard since we were children. We all grew up with classical Arab music. In finding our own sound, we've discovered things from all over." With its insistent riff that evokes the space of the desert; the glorious, driving, funky percussion; and an electric guitar that Nakhleh modified with extra frets to sound like an oud, the title-track builds a manifesto that bonds West Africa and the Maghreb to the Levant. It's a thrilling opener; more than that, it's a very catchy one, with the subtle reggae flourishes adding an organic international feel. TootArd are not "undefined"; they've fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg -- another people without a real home -- and reaches out far beyond. Let them pass.
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NAWA 007LP
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Nawa Recordings present Ahwar, the debut album by Nadah El Shazly. Starting out singing Misfits covers in a local punk band, then moving on to producing her own electronic tracks and making a name for herself in Cairo's underground scene, Nadah El Shazly's backstory is not that unusual. Her debut album on the other hand, is an entirely unexpected story. Two years in the making, Ahwar (Arabic for "marshlands") is an otherworldly record, not unlike an abstract mythological story-tale. Opening with the mangled and filtered vocals of "Afqid Adh-Dhakira (I Lose Memory)", like an alien dream, the drones of a bowed double bass lead the listener into a drum groove that lays the groundwork for El Shazly's sultry and captivating presence. The Arabic prose lingers over interjections of slap-back delayed guitar twangs and an avant-garde arrangement of dissonant winds, horns, and seemingly random drum fills, ending with an eerie soundscape that wouldn't feel out of place in a giallo classic. Composed, written, and produced by El Shazly herself in collaboration with The Dwarfs Of East Agouza's Maurice Louca and Sam Shalabi on co-composition and arrangement duties, the album was crafted across two continents, between Canada and Egypt, and features the crème of Montreal's contemporary-classical and improvised music scene, most of whom are members of Shalabi's own Land Of Kush ensemble. In between El Shazly's five original tracks, the listener is treated to an abstract conversion of Sayyid Darwish's classic "Ana 'Ishiqt (I Once Loved)". El Shazly's haunting vocal floats over broken kalimba and harp arpeggios which slowly intertwine with a free, bowed double bass improv to nestle within the breaks between Younes Al-Qadhi's early 20th century verses of love and betrayal. More than that, it is difficult to really describe, but imagine the worlds of Nico, Björk, and Annette Peacock with the Arabic language as their mother tongue, re-approached through acoustic avant-jazz harmony and re-constructed with a dash of Kamilya Jubran's modern styling of Arabic maqam and you may be somewhere close. Recorded and delicately mixed through miles of analog cabling by Thierry Amar and mastered by Harris Newman, the album is adorned with the surrealist artwork of Egyptian artist Marwan El-Gamal and designed with custom typography by Egyptian designer Valerie Arif. Includes booklet featuring the lyrics in Arabic and English.
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LP+CD
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GR 030LP
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Pablo Yglesias, aka DJ Bongohead, compiles an amazing series for Grosso Recordings, Roots Of Salsa, with classics tunes from Caribbean music that became great successes of "Salsa". Yglesias on the compilation: "This series is born of my investigations into the music I love, digging deep into the Afro-Antillean songbook from the golden period of Latin music to unearth older -- sometimes definitive or at the very least early hit renditions -- of tunes that would later be covered by the next succeeding waves of salseros. That is not to say these are the first recorded versions (though some are); indeed, there is a whole other even earlier epoch of recordings, from the 1920s and '30s, which also served as fodder for future generations of Latin musicians. The mission with this series is to choose recordings from the 1940s and '50s that not only were influential in the 1970s but also have good-to-excellent recording fidelity and could be an aid not only in advancing people's understanding of the origins of salsa, but also serve as a DJ tool to show that there was an earlier version of a hit that the casual salsa fan may not know about. These treasures, some now forgotten and obscure, others still played in some melómano (salsa fan) circles, are representative of the earlier era of compositions and performances that would serve to inspire and shape the movement that would become a transnational symbol of Latinidad from the 1960s through the 1980s, before the next generation created their own vernacular styles for dancing and expressing their identity anew." Features: Cheo Marquetti Y Su Conjunto, Vicentico Valdés Con La Sonora Matancera, Mariano Mercerón Y Sus Muchachos Pimienta, Senén Suárez Y Su Conjunto Del Tropicana Night Club, Orquesta Aragón, René Álvarez Y Su Conjunto Los Astros, Arsenio Rodríguez Y Su Conjunto, Joseíto Fernández Con Orquesta Aragón, Conjunto Flores Valdés, Conjunto Casino, Randy Carlos And His Orchestra, Alfonsin Quintana Y Su Conjunto Jovenes Del Cayo, Trío Matamoros, and Chapuseaux Y Damirón. 140 gram vinyl; Includes insert with Spanish/English liner notes by Pablo "Bongohead" Yglesias; Includes CD.
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GB 054LP
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LP version. TootArd are a young, trailblazing ensemble from the occupied Golan Heights who deftly fuse Levant-tinted desert blues, melodic psych-rock, morphed reggae, and classical Arabic modalities. Their second album, Laissez Passer, is their debut international release and one of the first such releases from their homeland. Restless, buoyant, and eclectic. A Laissez Passer. Let him pass. That's the document the stateless carry. It's all that those from the occupied Golan Heights possess. Since 1967 the area has been part of Israel, but the inhabitants aren't Israelis. They don't have any citizenship. They don't have passports. Just a Laissez Passer. And for the members of TootArd, who all grew up in the village of Majdal Shams in the Golan, it's a very apt name for their second album. "Laissez passers are special situation papers," explains singer and guitarist Hasan Nakhleh. "It took us a while to realise the effect. We're permanent residents in Israel, but not citizens. We have no travel documents. When we travel we need the laissez passer. With no nationality, we're officially 'undefined.'" But in statelessness, the five-piece has discovered musical freedom. TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside. "What we do now is the result of everything we've ever done and heard," Nakhleh says. "We began listening to Tuareg music and we fell in love with it. It resonated with us. North African music is something we've heard since we were children. We all grew up with classical Arab music. In finding our own sound, we've discovered things from all over." With its insistent riff that evokes the space of the desert; the glorious, driving, funky percussion; and an electric guitar that Nakhleh modified with extra frets to sound like an oud, the title-track builds a manifesto that bonds West Africa and the Maghreb to the Levant. It's a thrilling opener; more than that, it's a very catchy one, with the subtle reggae flourishes adding an organic international feel. TootArd are not "undefined"; they've fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg -- another people without a real home -- and reaches out far beyond. Let them pass.
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2LP
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SR 448LP
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Double LP version. Includes color insert. Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu.
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NAWA 007X-LP
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Clear vinyl version. Nawa Recordings present Ahwar, the debut album by Nadah El Shazly. Starting out singing Misfits covers in a local punk band, then moving on to producing her own electronic tracks and making a name for herself in Cairo's underground scene, Nadah El Shazly's backstory is not that unusual. Her debut album on the other hand, is an entirely unexpected story. Two years in the making, Ahwar (Arabic for "marshlands") is an otherworldly record, not unlike an abstract mythological story-tale. Opening with the mangled and filtered vocals of "Afqid Adh-Dhakira (I Lose Memory)", like an alien dream, the drones of a bowed double bass lead the listener into a drum groove that lays the groundwork for El Shazly's sultry and captivating presence. The Arabic prose lingers over interjections of slap-back delayed guitar twangs and an avant-garde arrangement of dissonant winds, horns, and seemingly random drum fills, ending with an eerie soundscape that wouldn't feel out of place in a giallo classic. Composed, written, and produced by El Shazly herself in collaboration with The Dwarfs Of East Agouza's Maurice Louca and Sam Shalabi on co-composition and arrangement duties, the album was crafted across two continents, between Canada and Egypt, and features the crème of Montreal's contemporary-classical and improvised music scene, most of whom are members of Shalabi's own Land Of Kush ensemble. In between El Shazly's five original tracks, the listener is treated to an abstract conversion of Sayyid Darwish's classic "Ana 'Ishiqt (I Once Loved)". El Shazly's haunting vocal floats over broken kalimba and harp arpeggios which slowly intertwine with a free, bowed double bass improv to nestle within the breaks between Younes Al-Qadhi's early 20th century verses of love and betrayal. More than that, it is difficult to really describe, but imagine the worlds of Nico, Björk, and Annette Peacock with the Arabic language as their mother tongue, re-approached through acoustic avant-jazz harmony and re-constructed with a dash of Kamilya Jubran's modern styling of Arabic maqam and you may be somewhere close. Recorded and delicately mixed through miles of analog cabling by Thierry Amar and mastered by Harris Newman, the album is adorned with the surrealist artwork of Egyptian artist Marwan El-Gamal and designed with custom typography by Egyptian designer Valerie Arif. Includes booklet featuring the lyrics in Arabic and English.
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CLE 019LP
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LP version. Standing beside the Niger River esplanade in downtown, Bamako Leila Gobi waves to people in the passing cars. She smiles and laughs with them. Walking down the street she is greeted warmly by strangers. From the distant provincial city Menaka, she has become a successful artist here in the capitol of Mali. 2017 is Leila Gobi's second album on Clermont Music. It was recorded in Hampathe Bah Studio, on the second floor of a group of buildings off the main road in a suburb of western Bamako. The sessions were intimate. The tracks were laid without effects, clean. Leila wanted to produce an album that brought a new dimension to her music. The problem was how to create this new sound with only the basic tools available in Mali. It is almost impossible for musicians there to find the equipment available to the average westerner. The talent is there, just not the hardware. And electric power failures and poor communications infrastructure interrupt regularly. The final sounds were found in the studio while mixing in the synthesizers and electronic effects. Tracks were mixed and mastered in Bamako, New York, and Los Angeles. Remaining faithful to the underlying roots of the music, 2017 bridges genres. The album forges the origins of trance, beats, and loops with new technology, a fusion of many influences. And across it all, Leila Gobi's unmistakable voice shines through. Personnel: Leila Walet Gobi - vocals; Khalil M. Touré - guitars; Amadou Dembélé - bass; Abdourhamane Salaha - calabash, conga, percussion.
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AZIZA 001LP
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Noir C'est Noir premiere volume -- special issue: Afro beat & soul! A deep exploration of the vast archives of music all across Africa, for a series of compilations composed of dynamite fusions that have not been assembled together previously, such as soul, jerk, psych, beat, garage, and others. All cuts reissued for the first time. Features: Orchestre African Fiesta, Sunbust, Gee Dees, Sax Wary And Orchestre, Les Kilts, Kante Manfla, François Lougah, The Rwenzori´s, Bongi & Nelson, Verckys Et Son Ensemble, Docteur Nico & The Orchestre, Kalle Et L'african Team, Uta Bella, and H.C. Clementophe.
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CD
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FARO 200CD
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Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.
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FARO 200LP
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LP version. 180 gram vinyl. Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.
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MST 4001LP
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LP version. Maryam Saleh, Maurice Louca, and Tamer Abu Ghazaleh, names that have turned heads in alternative Arabic music with solo albums and conspicuous collaborations. With Lekhfa, they give birth to an off-kilter sound where layers of grit and beauty intertwine in and around the dystopian poems of their contemporary Mido Zoheir, whom they've dubbed the fourth member in this creation, and one of the most talented Egyptian poets of their generation. Mixed by Khyam Allami.
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7"
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MST 4002EP
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Limited 7" of tracks only available on CD version of Lekhfa (MST 003CD).
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AADE 007LP
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A reissue of the electrifying final album from Cameroon's legendary Los Camaroes, available on LP for the first time since 1979. Recorded live to two-track at the Mango Bar in Yaoundé, Resurrection Los Vol. 1 was the last collaboration between bandleader Jean Gabari and groundbreaking guitarist Messi Martin. Los Camaroes emerged at the end of the 1960s from the town of Maroua, Cameroon. In the span of only a few years they changed Cameroon's music scene. The band had been led from the beginning by Jean Gabari. But it was Gabari's alchemical collaborations with guitarist Messi Martin that drove the band. Martin, deemed the "King of Bikutsi", had been lured away from the band before by the promise of success and when Los Camaroes were at the peak of their power in 1975, he left them once again. Gabari tried to keep the band going, but his battles with ill health eventually forced him to return to his hometown. By 1978, Los Camaroes were a rapidly fading memory. From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. He tracked down the original members of Los Camaroes and got them back together. Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. Los Camaroes decided to record an album live to two-track in the legendary Mango Bar in the capital city of Yaoundé. The six tracks on the album were performed by a mixture of new recruits and veterans from the original Camaroes lineup including Mpouli "Dodo" Emmanuel and Boloko Michel on guitars, Eyango Claude on organ, the percussion duo of Ndi Bellui and Enama Leon, and vocal contributions from Sala Bekono Joseph and Ngoebang Jean Marie. The album, Resurrection Los Vol. 1, was completed in only a few days. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament --- Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. 180 gram vinyl; Housed in a gatefold sleeve featuring liner notes with pictures, a story of the band as told by original keyboardist Mbambo "Johnny Cosmos" Simon, and new interviews; Includes a poster.
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2LP
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JMAN 094LP
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Double LP version. Gatefold sleeve. Since the release of their first Jukebox Mambo compilation album in 2012 (JMAN 055CD/LP/BK), Jazzman Records, with the curatorial expertise of DJ Liam Large, have been opening ears and minds to the delights of Latin-tinged rhythm & blues. The third release in the series sticks squarely to the tried and tested formula of its predecessors; combining a crate-digger's passion for the obscure with an ear for instant dancefloor crowd pleasers. In a congested field of R&B comps, Jukebox Mambo stands out uniquely in shedding light on the era of Latin American and Caribbean influence, a sensual rhythmic shift which continues to be felt in modern music today. Opener, The Emperor's "Tough De Times (Things Getting Tough)" is a classic example of Large and Jazzman's idiosyncratic capacity to bring striking singularities to light, a beguiling and seductive blend of jazz, blues, and Trinidadian calypso. Other highlights include the slinky rumba-blues of Percy Mayfield's lustful "Loose Lips", the only known recording by female blues shouter Ethel Boswell on the track "No More For You", and Chuz Alfred And His Combo's powerful rendition of the Duke Ellington standard "Caravan". Elsewhere, Jukebox Mambo Vol. 3 is dominated by virtuosic performances, from the smooth tenor vocals of Roy Gaines to the polyrhythmic swing of the Monogram Caribbean Orchestra, and the Syrian-American jazz stylings of Eddie Kochak. Lovingly compiled, artfully arranged and expertly annotated, Jukebox Mambo Vol. 3 is another immersive gaze into an era of musical history that still carries a unique influence today. This one is for the crate diggers and music lovers alike! Comes with in-depth track notes and photographs. Also features: Preacher Stephens with The Foree Wells Combo, Jimmie Wilcher And His Orchestra, Camille Howard, Paul Boyers Band, Pattie Parish, Clarence Garlow, Maurice King and His Wolverines, Floyd Dixon, Aggie Dukes, Otis Blackwell, Duke Groner, Big Bertha, Linton Garner & All-Stars, Austin Powell, The Ontarios with Frank Motley & His Crew, Toni Jordan, Christine Kittrell, Harmonica "Blues King" Harris¸ Donald Woods & The Vel-Aires, and Sax Mallard.
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LP
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AKU 1007LP
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LP version. Includes printed inner sleeve; Includes download card with complete ceremony, extra photographs, and liner note translations (French, Italian, Japanese). A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession. The international audience's interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, '60s, and '70s which largely encouraged the discovery of this music beyond Indonesia's borders. Taking advantage of a more advanced technology, compared to the vinyl golden era, the present field recordings produced in 2011 render, at the closest, the power of gamelans. Gamelan is presented here in two forms. The first one (tracks 1 to 4) offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect in the compositions. The second one (tracks 5 to 9) presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse. With The Gamelan Of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (SF 106LP, 2016). Tracks 1 to 4 were recorded in the village of Wanagiri, in the district ("kecamatan") of Sukasada, of the regency of Buleleng. Tracks 5 to 9 were recorded in the village of Peliang, in the district of Ubud, of the regency of Gianyar.
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2LP
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ROOTS 001LP
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Roots Vibration present a reissue of Jamaiel Shabaka's The Land Of The Rising Sun, originally released in 1988. Heavy roots reggae album by the avant-jazz horn player. With its unusual jazzy/improvised sonic essays among straight-up heavyweight roots tracks, saying that The Land Of The Rising Sun is an unusual-sounding reggae album is an understatement: after all, who in the reggae world improvised for days on end with Sun Ra? While living for two years near Kingston, Shabaka recorded his only but very personal album, using the studios from friends, including Sugar Minott. Shabaka delivers healing vibes and meditations, bringing an African jazz sound into the Caribbean groove and creating a unique reggae sound topped with conscious and positive lyrics. Before embracing his Caribbean heritage, Jamaiel was a radio DJ at a college radio station in Long Beach, played with jazz drummer Alex Cline and on never-released Sun Ra albums. Growing up with Pharoah Sanders and John Coltrane, plus Yoruba and other types of African-Latin-Cuban sounds, Jamaiel started practicing the saxophone, and the clarinet, all the while gravitating towards the more radical sound of Archie Shepp and Byard Lancaster. Shabaka became a radio announcer at the California State University, Long Beach, KLON, now KKJZ (or KJazz) from the early '70s on. For years, the aspiring radio DJ and the master had been exchanging letters, with Sun Ra growing familiar with Jamaiel's skills at the horns. Shabaka went to Philadelphia and ended up playing on at least three never-released, private press Sun Ra albums. In 1976, introduced by Woody "Sonship" Theus, he met avant-garde jazz drummer Alex Cline. From playing regularly together came the idea to turn the live Cline/Shabaka Duo Infinity project into an LP (1977). In the years to follow, Jamaiel would carry his heavy jazz luggage over to the greener pastures -- at least spiritually, if not monetarily -- of reggae. Since the recording of The Land Of The Rising Sun, Jamaiel has been involved in various projects at a school and various cultural centers in the Los Angeles area, mixing traditional teachings and yoga, presenting music and playing flute, and overall being busy as a family man. Recorded and mixed at studios such as Hit City West (LA), Channel One, and Music Mountain (Jamaica). Layout by Jeroen Wille. Includes a bonus track. Remastered by Equus; Comes in a gatefold sleeve; Liner notes by Seb Carayol; Edition of 500.
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CD
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JMAN 094CD
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Since the release of their first Jukebox Mambo compilation album in 2012 (JMAN 055CD/LP/BK), Jazzman Records, with the curatorial expertise of DJ Liam Large, have been opening ears and minds to the delights of Latin-tinged rhythm & blues. The third release in the series sticks squarely to the tried and tested formula of its predecessors; combining a crate-digger's passion for the obscure with an ear for instant dancefloor crowd pleasers. In a congested field of R&B comps, Jukebox Mambo stands out uniquely in shedding light on the era of Latin American and Caribbean influence, a sensual rhythmic shift which continues to be felt in modern music today. Opener, The Emperor's "Tough De Times (Things Getting Tough)" is a classic example of Large and Jazzman's idiosyncratic capacity to bring striking singularities to light, a beguiling and seductive blend of jazz, blues, and Trinidadian calypso. Other highlights include the slinky rumba-blues of Percy Mayfield's lustful "Loose Lips", the only known recording by female blues shouter Ethel Boswell on the track "No More For You", and Chuz Alfred And His Combo's powerful rendition of the Duke Ellington standard "Caravan". Elsewhere, Jukebox Mambo Vol. 3 is dominated by virtuosic performances, from the smooth tenor vocals of Roy Gaines to the polyrhythmic swing of the Monogram Caribbean Orchestra, and the Syrian-American jazz stylings of Eddie Kochak. Lovingly compiled, artfully arranged and expertly annotated, Jukebox Mambo Vol. 3 is another immersive gaze into an era of musical history that still carries a unique influence today. This one is for the crate diggers and music lovers alike! Comes with in-depth track notes and photographs. Also features: Preacher Stephens with The Foree Wells Combo, Jimmie Wilcher And His Orchestra, Camille Howard, Paul Boyers Band, Pattie Parish, Clarence Garlow, Maurice King and His Wolverines, Floyd Dixon, Aggie Dukes, Otis Blackwell, Duke Groner, Big Bertha, Linton Garner & All-Stars, Austin Powell, The Ontarios with Frank Motley & His Crew, Toni Jordan, Christine Kittrell, Harmonica "Blues King" Harris¸ Donald Woods & The Vel-Aires, and Sax Mallard.
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2LP
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WWSLP 006LP
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Double LP version. A superbly crafted Bob Marley set, compiled and annotated by French journalist Vincent Tarrière, chronicles the story behind this legendary article "The Wild Side of Paradise" published by Rolling Stone Magazine in 1973. Features a handpicked selection of Bob Marley's best songs, recorded at his creative peak, during the late '60s and early '70s, when he was working with producers Bunny Lee, Leslie Kong, and Lee Perry. 1973 was a turning point for Jamaican music. Perry Henzell's highly-acclaimed film The Harder They Come had come out the year before and Bob Marley had just signed with Island Records and was about to take the world by storm. In July 1973, Rolling Stone Magazine published "The Wild Side of Paradise", a major story about Jamaica and its vibrant musical scene written by Michael Thomas with striking photos by Arthur Gorson. The pair had travelled to the island to soak up the atmosphere and immerse themselves in the local music scene. There they met a 28 year old Marley who was about to tour Europe. "The Wild Side of Paradise" was a bold move for the magazine. Jamaican music was essentially unknown in the western world up to that point. "Revolution was in the air and, ten years into independence, Jamaica was on fire," remembers Gorson. Through connections with Island Records' Chris Blackwell, Thomas and Gorson managed to spend time with Marley and a series of iconic photos of the artist was taken by Gorson, one of which is on the cover of this album. "Wild Side" was the first major feature focusing on Jamaican music and would help put reggae on the international map. The article was also the seed of Thomas's book Babylon On A Thin Wire in collaboration with Adrian Boot (1976). In 1973, Bob Marley was indeed no newcomer on the Jamaican scene. He'd been active since the early '60s and had recorded some of his most creative output accompanied by his group, The Wailers. The music is fresh and undiluted, catchy and inspired, and shows Marley's genius at crafting beautiful melodies. The set features several of his early classics such as "Duppy Conqueror" and "Caution", as well as lesser-known gems such as "Wisdom" and "Long Long Winter", and songs that would find a second life on his Island albums, such as "Trench Town Rock" or "Concrete Jungle".
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CD
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GB 053CD
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"Why not give yourself a break from the unending cavalcade of modern high-speed insanity, and rest up with this album of deep soul from Southern Albania." --Ry Cooder
Brazilian samba, Bosnian Sevdah, New Orleans jazz, Cuban son -- and Albanian Saze! The turn of the last century saw mass migrations to the world's cities with rural people bringing their music with them, adapting their traditions to new circumstances and modern instruments. Of all these great musical forms, the mesmerizing arabesques, joyful dances, and heart-breaking laments of Saze are among the least recorded, and they remain largely unknown outside Albania. At Least Wave Your Handkerchief At Me: The Joys and Sorrows of Southern Albanian Song is the debut of Saz'iso, a group of virtuoso musicians and legendary singers assembled by veteran producer Joe Boyd (Pink Floyd, Nick Drake, ¡Cubanismo!, Songhai) and his co-producers, Edit Pula and Andrea Goertler. The album was recorded live, with no overdubs, by Grammy-winning engineer Jerry Boys (Buena Vista Social Club, Ali Farka Touré, Orchestra Baobab) over three days of October 2016 at the Akademia e Filmit dhe Multimedias Marubi in Tirana, Albania. The music of Southern Albania is iso-polyphonic, which means that it combines at least two melodic vocal lines, a lead (marrës, the "taker") and a second (prerës, the "cutter"), with a multi-voiced drone or iso. When manufactured "tempered" instruments arrived in the region in the late 19th century, Saze ensembles were born; clarinets and violins took on the roles of the lead and second voices while lutes carried the iso. As Vasil S. Tole, Albania's leading expert on iso-polyphony -- and an inspiring advisor to this project -- puts it: "Saze remains to this day the musical language of the cities of Southern Albania, where East and West embraced when European instruments collided with the magic of a cappella iso-polyphony, and where life and death still coexist in a sound that is truly unique." Donika Pecallari: voice; Adrianna Thanou: voice; Robert Tralo: voice; Aurel Qirjo: violin and voice; Telando Feto: clarinet; Agron Murat: llautë (lute); Agron Nasi: dajre (frame drum); Pëllumb Meta: fyell (flute) and voice.
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LP
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GB 053LP
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LP version. "Why not give yourself a break from the unending cavalcade of modern high-speed insanity, and rest up with this album of deep soul from Southern Albania." --Ry Cooder
Brazilian samba, Bosnian Sevdah, New Orleans jazz, Cuban son -- and Albanian Saze! The turn of the last century saw mass migrations to the world's cities with rural people bringing their music with them, adapting their traditions to new circumstances and modern instruments. Of all these great musical forms, the mesmerizing arabesques, joyful dances, and heart-breaking laments of Saze are among the least recorded, and they remain largely unknown outside Albania. At Least Wave Your Handkerchief At Me: The Joys and Sorrows of Southern Albanian Song is the debut of Saz'iso, a group of virtuoso musicians and legendary singers assembled by veteran producer Joe Boyd (Pink Floyd, Nick Drake, ¡Cubanismo!, Songhai) and his co-producers, Edit Pula and Andrea Goertler. The album was recorded live, with no overdubs, by Grammy-winning engineer Jerry Boys (Buena Vista Social Club, Ali Farka Touré, Orchestra Baobab) over three days of October 2016 at the Akademia e Filmit dhe Multimedias Marubi in Tirana, Albania. The music of Southern Albania is iso-polyphonic, which means that it combines at least two melodic vocal lines, a lead (marrës, the "taker") and a second (prerës, the "cutter"), with a multi-voiced drone or iso. When manufactured "tempered" instruments arrived in the region in the late 19th century, Saze ensembles were born; clarinets and violins took on the roles of the lead and second voices while lutes carried the iso. As Vasil S. Tole, Albania's leading expert on iso-polyphony -- and an inspiring advisor to this project -- puts it: "Saze remains to this day the musical language of the cities of Southern Albania, where East and West embraced when European instruments collided with the magic of a cappella iso-polyphony, and where life and death still coexist in a sound that is truly unique." Donika Pecallari: voice; Adrianna Thanou: voice; Robert Tralo: voice; Aurel Qirjo: violin and voice; Telando Feto: clarinet; Agron Murat: llautë (lute); Agron Nasi: dajre (frame drum); Pëllumb Meta: fyell (flute) and voice.
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