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Artist	Title	Format	Label	Catalog #

SCHMIDT, DANIEL	In My Arms, Many Flowers	LP	RECITAL	R 017LP
$22.00 PREORDER RELEASE DATE: 6/29/2018 2018 repress, originally released in 2016. Recital present the first album of American Gamelan composer Daniel Schmidt (b. 1942). Schmidt, who emerged in the Bay Area music scene in the 1970s, wove the threads of traditional Eastern Gamelan music together with American minimalism (repetitive music). Schmidt was (and is still) a prime figure in the development of American Gamelan music -- studying and collaborating with Lou Harrison, Jody Diamond, and Paul Dresher. He currently is a teacher at Mills College, teaching instrument building. The recordings on Flowers date from 1978-1982, selected directly from Schmidt's personal cassette archive. It holds two studio tracks, along with two live performances. The first track, "Dawn" (commissioned by composer John Adams), employs an early digital sampler provided by Pauline Oliveros. It holds the sound of a string quartet. The nature of this piece is breathtaking, an ocean of strings pulsing beneath the gliding bells of the gamelan -- such a lovely interplay. Furthermore, the title track, "Flowers", features the addition of a rebab, a traditional bowed instrument, which reels through the piece, netted and taught. The final two works are strictly gamelan compositions. "Ghosts" is a dynamic piece; rife with dexterous euphoria, it well displays the skillset of the percussionists heard on the LP. The closing work, "Faint Impressions", is a somber elegy. Demonstrating the fragility and grace possible with the gamelan; sounding almost as an evening piano sonata. In My Arms, Many Flowers is a unique document from an under-represented movement of American new music. An account of the curious beauty and woven emotions hidden within resonating pieces of metal.

Artist	Title	Format	Label	Catalog #
LOS MIRLOS	Los Charapas De Oro	LP	INFOPESA	INF 001LP
$25.00 PREORDER RELEASE DATE: 6/29/2018 Infopesa present a reissue of Los Mirlos' Los Charapas De Oro, originally released in 1975. Back in the year 1972, seven young musicians from Moyobamba, a Peruvian city and the capital of the department of San Martin located in the Amazon region of northern Peru, arrived in Lima brandishing an iconic name that would soon become legendary: Los Mirlos. The original members of the band included singer and director Jorge Rodriguez, Gilberto Reátegui on lead guitar and composing duties, Dany Johnston on second guitar, and a rhythm section made up of Manuel Linares on bass guitar, Hugo Jauregi on drums, Carlos Vasquez on percussions, and Wagner Grandez providing backing vocals. By the time of their arrival to Peru's capital, they had distilled an exotic psychedelic flavor and incredible chemistry matched only by their determination to succeed. They quickly caught the eye of the Peruvian Record label Infopesa, which was responsible for the "Cumbia Amazónica" movement that was sweeping the country at the time. By 1973, they were signed by Infopesa and began an iconic and successful career that spawned nine long plays, two compilations, and several singles, all produced by prolific music producer Alberto Maraví. It must be noted that in the midst of these classic releases there was one that became their most popular album, their third album, correctly titled Los Charapas De Oro. "Charapa" is a common nickname Peruvians use to refer to people from the Amazon jungle where it's hotter than most places in the country, and "The Oro", well, it's how they are seen by their audiences: as guys made from gold because of their incredible talent and success! Los Charapas de Oro was released in 1975 winning an instant cult following by serving up irresistible guitar-driven classics such as "Sonido Amazónico", "La Danza del Petrolero", "Cabalgando Con Ella", and "Somos Los Mirlos". This cult classic has stood the test of time and is now being considered as one of the most collectable Latin American records ever produced. Remastered from the original analog tapes at Infopesa's studio by Aldo Montalvo under the direction of Juan Ricardo and Alberto Maraví, who produced and oversaw the original mastering of the record in 1975. Artwork features a reinterpretation of the original cover by well-known Peruvian collage master Yerko Zlatar. Includes Spanish-English liner notes.

Artist	Title	Format	Label	Catalog #
AMMAR 808	Maghreb United	LP	GLITTERBEAT	GB 060LP
$23.50 PREORDER RELEASE DATE: 6/15/2018 LP version. 180 gram vinyl; Includes download code. Deep TR-808 bass meets pan-Maghreb beats, timeless voices, and futurist visions. AMMAR 808 was the sonic mastermind behind the Tunisian sensation: Bargou 08. On his debut release, Maghreb United, featuring the singers Mehdi Nassouli (Morocco), Sofiane Saidi (Algeria), and Cheb Hassen Tej (Tunisia), he connects the two to offer a radical, electronic reinvention of ancient North African music. AMMAR 808 started the project in 2017, after working with the lauded Bargou 08, searching for something to link the sense of what has been with what will be. "I'm trying to weave threads from folklore and mythology into futurism. And I'm not necessarily projecting a positive image; from all we can see, things aren't going in the right direction. What I hope is that it will raise an alarm." Yet there's also plenty of hope here. With singers from Algeria, Tunisia, and Morocco, songs from the Targ, Gnawa, and Raï histories, and a TR-808 alongside a distorted gumbri (Nassouli), gasba flute, and zokra bagpipes (Lassaed Bougalmi), this is an album that reaches out to encompass the entire Maghreb area of North Africa. "In the past the Maghreb was one huge region, yet very diverse within its borders. But today, the world keeps every person separated. The album isn't so much about a united Maghrebi region, but how we can connect while observing our differences -- our differences are also our connection -- and using them to unify as humans." The choice of songs was also very deliberate for AMMAR 808, with nine of the ten cuts taken from the deep tradition. The idea for Maghreb United (which is also the name for the album's performing group) has long been burning in AMMAR 808, but it burst into flame after the musician and producer met all the singers on his regular trips in the region, before returning home to start building the tracks. The deep, rumbling growl of the gumbri, the dry, airy tenderness of the gasba, and the softly slithering zokra give a powerful North African root to the music, a thread that spins back through centuries. And the singers burn with fire and grace and passion.

Artist	Title	Format	Label	Catalog #
AMMAR 808	Maghreb United	CD	GLITTERBEAT	GB 060CD
$15.50 PREORDER RELEASE DATE: 6/15/2018 Deep TR-808 bass meets pan-Maghreb beats, timeless voices, and futurist visions. AMMAR 808 was the sonic mastermind behind the Tunisian sensation: Bargou 08. On his debut release, Maghreb United, featuring the singers Mehdi Nassouli (Morocco), Sofiane Saidi (Algeria), and Cheb Hassen Tej (Tunisia), he connects the two to offer a radical, electronic reinvention of ancient North African music. AMMAR 808 started the project in 2017, after working with the lauded Bargou 08, searching for something to link the sense of what has been with what will be. "I'm trying to weave threads from folklore and mythology into futurism. And I'm not necessarily projecting a positive image; from all we can see, things aren't going in the right direction. What I hope is that it will raise an alarm." Yet there's also plenty of hope here. With singers from Algeria, Tunisia, and Morocco, songs from the Targ, Gnawa, and Raï histories, and a TR-808 alongside a distorted gumbri (Nassouli), gasba flute, and zokra bagpipes (Lassaed Bougalmi), this is an album that reaches out to encompass the entire Maghreb area of North Africa. "In the past the Maghreb was one huge region, yet very diverse within its borders. But today, the world keeps every person separated. The album isn't so much about a united Maghrebi region, but how we can connect while observing our differences -- our differences are also our connection -- and using them to unify as humans." The choice of songs was also very deliberate for AMMAR 808, with nine of the ten cuts taken from the deep tradition. The idea for Maghreb United (which is also the name for the album's performing group) has long been burning in AMMAR 808, but it burst into flame after the musician and producer met all the singers on his regular trips in the region, before returning home to start building the tracks. The deep, rumbling growl of the gumbri, the dry, airy tenderness of the gasba, and the softly slithering zokra give a powerful North African root to the music, a thread that spins back through centuries. And the singers burn with fire and grace and passion.

Artist	Title	Format	Label	Catalog #
TRACEY, HUGH	Listen All Around: The Golden Age of Central and East African Music	2CD/BOOK	DUST-TO-DIGITAL	DTD 052CD
$28.50 PREORDER RELEASE DATE: 6/15/2018 Legendary ethnomusicologist and field-recording pioneer, Hugh Tracey founded the International Library of African Music (ILAM) in 1954. Today, ILAM preserves thousands of historical recordings and has become the greatest repository of African music in the world. Dust-to-Digital partner with ILAM to present Listen All Around: The Golden Age of Central and East African Music -- a compilation of newly-transferred and remastered recordings that Hugh Tracey made between 1950-1958. The recordings presented here were made in central and eastern Africa -- specifically, the Belgian Congo (now the Democratic Republic of the Congo), Kenya, Tanganyika, and Zanzibar (now Tanzania). The genre of music Tracey documented, and the focus of this double-CD and book is rumba and its variations -- Congolese rumba, dansi, and benga. The recordings, photographs and detailed liner notes included in this set provide a rich point of immersion into the mid-20th-century music of eastern and central Africa. Including 47 newly-transferred and remastered recordings that Hugh Tracey made in central and eastern Africa between 1950-1958, Listen All Around includes 84-page hardcover book and two CDs. Listen All Around features Kalenga Antonance, Ilunga Patrice, Misomba Victor and Friends, Vijana wa Mbeya with Jim D. Gondwe, Henri Bembele and Orchestra Tinapa, Dar es Salaam Jazz Band, Lang Obiero, Joseph Eluka and Soldiers, Yemba Jean Batiste and Soldiers, Société Edemi de Stanleyville, Bakia Pierre, Morris Kalala, Tauni Mwenasasu and Friend, Coast Social Orchestra, Chemutoi Ketienya and Kipsigis Girls, Sunderland String Band, Lang Obiero, ORCLOS, Kimambo Brothers, ECO African Band, Norbert de Magaro, Ezekiel Kamenga and Luba Men, Mwenda Jean Bosco and Singers, Samuel Colon and Baninga Baye, Chipukizi Rumba, Vijana wa Mbeya, Merry Black Birds, Katanga Dance Orchestra, Salum's Brass Band with Salum Seliman, Chibanda Baudouin, Lake Victoria Band, and Kamwema Jean and His Friends.

Artist	Title	Format	Label	Catalog #
BAIANO & OS NOVOS CAETANOS	Baiano & Os Novos Caetanos	LP	FAR OUT RECORDINGS	FORDIS 003LP
$25.00 PREORDER RELEASE DATE: 6/1/2018 Far Out Recordings present a reissue of Baiano & Os Novos Caetanos's self-titled album, originally released in 1974. Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirizing Brazil's tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos "Baiano" and "Paulinho Boca de Profeta" poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass, and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk, and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira. 180 gram vinyl.

Artist	Title	Format	Label	Catalog #
SFETSAS, KYRIAKOS	Greek Fusion Orchestra Vol. 1	CD	TERANGA BEAT	TBCD 022CD
$16.50 PREORDER RELEASE DATE: 6/1/2018 Teranga Beat present composer Kyriakos Sfetsas and his Greek Fusion Orchestra, an artist with a truly multi-faceted body of work. Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960s avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a progressive-jazz fusion masterpiece comprising complex and intriguing compositions, and performed by Athens's best musicians of the day. Sfetsas grew up in the island of Lefkada where he studied classical music from a very young age at the local conservatory. At the same time he was genuinely connected to traditional music and especially to the sound of clarinet, the lead instrument in the region's folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprising mostly members of the Variety Music Orchestra who had a solid background in both classical and traditional music. In that way he was able to realize his ambition, something he could not do in Paris since it was impossible to find musicians trained in both musical cultures. The recordings on Greek Fusion Orchestra Vol. 1, forming only a small part of his overall body of work with GFO, are previously unreleased. The music was recorded stereo on reel tape and with high standards for the time, with the current mastering process highlighting even more the quality of the recordings. The result is truly impressive and pure audiophile album. CD version comes in a digipak; Includes a booklet with photos and liner notes.

Artist	Title	Format	Label	Catalog #
TOURE, SAMBA	Wande	LP	GLITTERBEAT	GB 059LP
$23.50 PREORDER RELEASE DATE: 6/1/2018 LP version. 180 gram vinyl; includes download code. When Malian singer and guitarist Samba Touré was planning Wande ("The Beloved"), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. "We had a totally different album in mind," Touré admits, "a return to something more traditional, almost acoustic. I think this album is less dark than the previous ones. It has some sad and serious songs, but it sounds more peaceful. All the first takes have been kept." That spark of spontaneity fires across the whole disc. It was recorded quickly, in "about two weeks, only in the afternoons and with breaks on weekend to play in weddings, so it was very relaxed!" Wande is just as direct and powerful as Touré's previous work, but everything moves with a bright, danceable sensibility. Gone are the intense guitar and ngoni duels, replaced with short, incisive guitar solos and a solid, laid-back groove. Only two songs had been written before going into the studio: the title cut, which is a love song to his wife, and "Tribute To Zoumana Tereta", a memorial to the late sokou fiddle player who often collaborated with Touré. Everything else came together almost on the spot, like the rhythmic "Yo Pouhala", composed one afternoon and recorded the next, or "Yerfara", with an impeccable, chunky rhythm guitar riff to make Keith Richards weep with envy. The emphasis throughout is on rhythm, and the tama talking drum that's always been a feature of Touré's music takes a place near the front of the band. "I've always loved tama, for its sounds . . . It's a symbol of call to reunion." Starting out as a guitarist in a soukous band, everything was altered when he became an accompanist to Mali's greatest legend, the late Ali Farka Touré (with whom his mother had performed). Later, as a solo artist, he's become renowned across the globe for his passionate guitar work and fiery singing, one of the masters of his art. But, Touré says, don't call it desert blues. Don't call it African rock. That's lazy. It doesn't need labels like that. Instead, call Wande the unexpected. Call it joyous. Call it the music Samba Touré is making right now.

Artist	Title	Format	Label	Catalog #
AZAMBUJA & CIA	Azambuja & Cia	LP	FAR OUT RECORDINGS	FORDIS 002LP
$25.00 PREORDER RELEASE DATE: 6/1/2018 Far Out Recordings present a reissue of Azambuja & Cia's self-titled album, originally released in 1975. In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical reimagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth, keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet, and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature. As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monolog, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music. 180 gram vinyl.

Artist	Title	Format	Label	Catalog #
TOURE, SAMBA	Wande	CD	GLITTERBEAT	GB 059CD
$15.50 PREORDER RELEASE DATE: 6/1/2018 When Malian singer and guitarist Samba Touré was planning Wande ("The Beloved"), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. "We had a totally different album in mind," Touré admits, "a return to something more traditional, almost acoustic. I think this album is less dark than the previous ones. It has some sad and serious songs, but it sounds more peaceful. All the first takes have been kept." That spark of spontaneity fires across the whole disc. It was recorded quickly, in "about two weeks, only in the afternoons and with breaks on weekend to play in weddings, so it was very relaxed!" Wande is just as direct and powerful as Touré's previous work, but everything moves with a bright, danceable sensibility. Gone are the intense guitar and ngoni duels, replaced with short, incisive guitar solos and a solid, laid-back groove. Only two songs had been written before going into the studio: the title cut, which is a love song to his wife, and "Tribute To Zoumana Tereta", a memorial to the late sokou fiddle player who often collaborated with Touré. Everything else came together almost on the spot, like the rhythmic "Yo Pouhala", composed one afternoon and recorded the next, or "Yerfara", with an impeccable, chunky rhythm guitar riff to make Keith Richards weep with envy. The emphasis throughout is on rhythm, and the tama talking drum that's always been a feature of Touré's music takes a place near the front of the band. "I've always loved tama, for its sounds . . . It's a symbol of call to reunion." Starting out as a guitarist in a soukous band, everything was altered when he became an accompanist to Mali's greatest legend, the late Ali Farka Touré (with whom his mother had performed). Later, as a solo artist, he's become renowned across the globe for his passionate guitar work and fiery singing, one of the masters of his art. But, Touré says, don't call it desert blues. Don't call it African rock. That's lazy. It doesn't need labels like that. Instead, call Wande the unexpected. Call it joyous. Call it the music Samba Touré is making right now.

Artist	Title	Format	Label	Catalog #
DAGAR, USTAD ZIA MOHIUDDIN	Raga Yaman	CD	IDEOLOGIC ORGAN	SOMA 029CD
$17.50 PREORDER RELEASE DATE: 6/1/2018 "Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad is a branch of Hindustani classical music said to 'show the raga in its clearest and purest form'. It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching, the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release Ragas Abhogi & Vardhani (SOMA 028CD/LP) was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students." --Stephen O'Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
DAGAR, USTAD ZIA MOHIUDDIN	Ragas Abhogi & Vardhani	2LP	IDEOLOGIC ORGAN	SOMA 028LP
$31.00 PREORDER RELEASE DATE: 6/1/2018 Double LP version. "Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad, for those who do not know, is a branch of Hindustani classical music said to 'show the raga in its clearest and purest form'. It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release, Raga Yaman (SOMA 029CD/LP), was recorded). The Benegals were friends (and Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad." --Stephen O'Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
VA	African Scream Contest 2	2LP	ANALOG AFRICA	AALP 086LP
$31.00 PREORDER RELEASE DATE: 6/1/2018 Double LP version. 140 gram vinyl; Gatefold sleeve; Includes 24-page, LP-size booklet. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008 (AACD 063CD/AALP 063LP), the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo's pile-driving opener, it's clear that African Scream Contest 2 is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces' "Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation. The screaming does not stop there, in fact it's only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills -- his training with the KGB -- highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the '60s and '70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves.

Artist	Title	Format	Label	Catalog #
VA	African Scream Contest 2	CD	ANALOG AFRICA	AACD 086CD
$22.00 PREORDER RELEASE DATE: 6/1/2018 Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008 (AACD 063CD/AALP 063LP), the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo's pile-driving opener, it's clear that African Scream Contest 2 is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces' "Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation. The screaming does not stop there, in fact it's only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills -- his training with the KGB -- highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the '60s and '70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves. CD version comes with a 44-page booklet.

Artist	Title	Format	Label	Catalog #
SFETSAS, KYRIAKOS	Greek Fusion Orchestra Vol. 1	LP	TERANGA BEAT	TBLP 022LP
$25.00 PREORDER RELEASE DATE: 6/1/2018 LP version. High-gloss laminated gatefold cover; Includes printed insert and a download code. Teranga Beat present composer Kyriakos Sfetsas and his Greek Fusion Orchestra, an artist with a truly multi-faceted body of work. Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960s avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a progressive-jazz fusion masterpiece comprising complex and intriguing compositions, and performed by Athens's best musicians of the day. Sfetsas grew up in the island of Lefkada where he studied classical music from a very young age at the local conservatory. At the same time he was genuinely connected to traditional music and especially to the sound of clarinet, the lead instrument in the region's folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprising mostly members of the Variety Music Orchestra who had a solid background in both classical and traditional music. In that way he was able to realize his ambition, something he could not do in Paris since it was impossible to find musicians trained in both musical cultures. The recordings on Greek Fusion Orchestra Vol. 1, forming only a small part of his overall body of work with GFO, are previously unreleased. The music was recorded stereo on reel tape and with high standards for the time, with the current mastering process highlighting even more the quality of the recordings. The result is truly impressive and pure audiophile album.

Artist	Title	Format	Label	Catalog #
DAGAR, USTAD ZIA MOHIUDDIN	Raga Yaman	2LP	IDEOLOGIC ORGAN	SOMA 029LP
$31.00 PREORDER RELEASE DATE: 6/1/2018 Double LP version. "Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad is a branch of Hindustani classical music said to 'show the raga in its clearest and purest form'. It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching, the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release Ragas Abhogi & Vardhani (SOMA 028CD/LP) was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students." --Stephen O'Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
DAGAR, USTAD ZIA MOHIUDDIN	Ragas Abhogi & Vardhani	CD	IDEOLOGIC ORGAN	SOMA 028CD
$17.50 PREORDER RELEASE DATE: 6/1/2018 "Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad, for those who do not know, is a branch of Hindustani classical music said to 'show the raga in its clearest and purest form'. It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release, Raga Yaman (SOMA 029CD/LP), was recorded). The Benegals were friends (and Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad." --Stephen O'Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
VA	Hong Kong Disco	CD	WAN CHAI RECORDS	WC 002CD
$21.00 PREORDER RELEASE DATE: 5/18/2018 Wan Chai Records is a Hong Kong based label, specializing in rare Asian records and quality reissues. After a few years of hard diggin' in Asia, meeting the artists and many local figures of the '60s, '70s, and '80s scene in Hong Kong, Singapore, and Taiwan, the label wanted to share their best finds and put them together with the best productions ever made in soul-jazz, disco, funk, modern-soul, and AOR. The result is a selection of ten totally unknown gems sung mostly in English and Cantonese with amazing covers of classics like "Lovin' You", "Make Me Believe In You", or "Hurt So Bad". Features Ajl Band, The Reflection, Charing Carpio, Deanie, Tracy, Julie Sue, Oscar & His Orchestra, The New Topnotes, Louie Castro, and Rita Kwong.

Artist	Title	Format	Label	Catalog #
ADELAJA, GBOYEGA	Colourful Environment	CD	LIVINGSTONE STUDIO	LIVST 006CD
$19.50 PREORDER RELEASE DATE: 5/18/2018 Livingstone Studio present a reissue of Gboyega Adelaja's Colourful Environment, originally released in 1979. Fresh from touring with Hugh Masekela -- The Boy's Doin' It (1975) -- Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar, and Gasper Lawal on percussion, this is a top quality, Afro funk -- an all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production. Adelaja on the period of recording: "I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. In fact when we started playing together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments, but Hugh and myself shared the same three bedroom apartment". "We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use. We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US."

Artist	Title	Format	Label	Catalog #
ADELAJA, GBOYEGA	Colourful Environment	LP	LIVINGSTONE STUDIO	LIVST 006LP
$25.00 PREORDER RELEASE DATE: 5/18/2018 LP version. Livingstone Studio present a reissue of Gboyega Adelaja's Colourful Environment, originally released in 1979. Fresh from touring with Hugh Masekela -- The Boy's Doin' It (1975) -- Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar, and Gasper Lawal on percussion, this is a top quality, Afro funk -- an all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production. Adelaja on the period of recording: "I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. In fact when we started playing together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments, but Hugh and myself shared the same three bedroom apartment". "We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use. We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US."

Artist	Title	Format	Label	Catalog #
CAMPBELL, AMBROSE ADEKOYA	London Is The Place For Me 3	2LP	HONEST JON'S RECORDS	HJR 021LP
$23.50 PREORDER RELEASE DATE: 5/18/2018 2018 repress; 2006 release. Ambrose Campbell was acclaimed by Fela Kuti's generation -- by Fela himself -- as the founder of modern Nigerian music. Several of his recordings lit up London Is the Place for Me 2 (HJR 016LP, 2006), and Volume Three is devoted to his music, drawing on the 78s he cut in London over ten years from 1949. Nearly all the tracks assembled here come from recordings made for the Melodisc label and originally released as 10" 78 rpm singles. People who bought these records at the time can still recall how it was when the percussion team -- among them Ade Bashorun, Salustiano, Dos Anjos, Manny Myers and "Lati" Pedro -- built their polyrhythms in Ola Dosunmu's kingdom. With the melodic guitars of Brewster and Ambrose coming together behind Campbell's soothing voice, the musicians contrived to paint an evocative, enduring picture of palm wine Lagos nights." --Val Wilmer Features: West African Rhythm Brothers, Nigerian Union Rhythm Group, Ayinda Bakare And His Meranda Orchestra, Nigerian Union Rhythm Group, and West African Rhythm Stars.

Artist	Title	Format	Label	Catalog #
GREGOR, MAC	Abidjan	12"	HOT CASA	HC 055EP
$21.00 PREORDER RELEASE DATE: 5/18/2018 A rare and highly-desirable Afro digital soul EP, recorded in Abidjan (Ivory Coast) in 1981. Originally from Martinique, Clemmarise Voltine, aka Mac Gregor, moved to Abidjan in 1979 searching for, what she called, her "negritude quest". She sang about her love for her adoptive city until her death in April 2004. A visionary composer, poet, and singer, mixing Creole, French, and Nouchi, she made a brilliant musical bridge between the West Indies and Ivory Coast backed by a soulful group of top Ivorian musicians, such as the great Houon Pierre. Fully Licensed in Abidjan. Remastered at Carvery Studio. 45RPM.

Artist	Title	Format	Label	Catalog #
VA	Heads Records - South African Disco-Dub Edits	12"	SOUNDWAY	SNDW 12028EP
$18.00 PREORDER RELEASE DATE: 5/18/2018 Four slices of disco-dub heat focused on the Heads label out of South Africa -- a sister 12" to Gumba Fire (SNDW 124CD/LP). William & The Young Five's "You Turn Me On" is a meaty, classic early '80s disco jam. New York's JKriv takes elements of the vocal and dub and reworks them into a condensed dancefloor winner. Sofrito's Frankie Francis gives Adaye's 1980s track "Turn it Up" and the Manyane cut "Thabong" the cut-up treatment, focusing heavily on the spaced-out weirdness of the dub versions. The set ends with "Picnic" by the mostly instrumental studio outfit Starlight.

Artist	Title	Format	Label	Catalog #
PEDRINHO	Aleluia	LP	MAR & SOL	MSR 001LP
$28.50 LOW STOCK LEVEL Mar & Sol's first release is a reissue of the Aleluia LP from the Cabo Verde singer Pedrinho. At the time, late '70s, this LP was one of the biggest successes from Cabo Verde music. Singer Pedrinho moved to Lisbon when he was 18 years old, and recorded this album, the first one of his career. Aleluia was produced on the same street where Mar & Sol is based nowadays, in Rua de S.Bento, Lisbon, Portugal. This street was also where Pedrinho come to live when he arrived in Portugal, like the majority of the musicians and emigrants from the old African Portuguese colonies move at that time, to try a new luck. A big community grew here and these artists got the opportunity to record their own traditional music by the hands of local labels. Now is the time for Mar & Sol to give a new life to all this music, this is the first of many reissues that are coming to start the series of the label.

Artist	Title	Format	Label	Catalog #
VA	Skinhead Hits The Town 1968-1969	LP	KINGSTON SOUNDS	KSLP 073LP
$19.50 PREORDER RELEASE DATE: 5/4/2018 LP version. The skinhead sound grew from the music that was coming out of Jamaica around 1968 to 1971 and was adopted by the British youth. The music seemed tailor made for their sharp look and natty dress style, a style that was heavily influenced by the Jamaican rude boy look. The skinhead movement started around 1968 and by the following year it became the style fashion of English teenagers. The uniform consisted of boots, braces, and jeans and the upbeat sound of reggae seemed to match the style perfectly. The tempo of the music seemed to be picking up around 1966 to 1968 the rocksteady period, which was when the earlier ska sound slowed down. The sound system dances needed a slower bear to swing the night away to, some say to cater for the extreme heatwave that hit Jamaica around that time. Kingston Sounds have selected a bunch of tunes that would have provided a sound to those heady times, so sit back and enjoy some of the tunes the youths were listening to when the skinheads hit town. Features Derrick Morgan & Owen Grey, The Versatiles, Derrick & Patsy, Bunny Lee Allstars, Stranger Cole & Lester Sterling, Ronald Russell, Derrick Morgan, Lloyd Robinson, Young Freddie, The Termites, Eric Barnett, Dervon & The Tartans, and Max Romeo.

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