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Search Result for Genre WORLD
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CD
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FARO 208CD
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$14.00
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RELEASE DATE: 2/15/2019
From an artist in their seventies, you probably wouldn't expect to hear an album like this. But Brazilian drumming legend Ivan "Mamão" Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group's "samba doido" (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser-known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker Jackson Conti. With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of roots-y electronic samba and tripped-out jazz, beats, and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London-based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão. Take a bite of Mamão's psychoactive papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle. United by a love for the music of Mamão and Azymuth, the CD version also features remixes and dubs from some of today's most forward-thinking producers with a penchant for percussion: IG Culture, the 22a crew (Tenderlonious), Max Graef, Dokta Venom, Reginald Omas Mamode IV, and Glenn Astro.
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LP
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FARO 208LP
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$21.00
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RELEASE DATE: 2/15/2019
LP version. Includes download code. From an artist in their seventies, you probably wouldn't expect to hear an album like this. But Brazilian drumming legend Ivan "Mamão" Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group's "samba doido" (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser-known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker Jackson Conti. With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of roots-y electronic samba and tripped-out jazz, beats, and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London-based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão. Take a bite of Mamão's psychoactive papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.
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CD
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GB 068CD
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$15.50
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RELEASE DATE: 2/15/2019
On the heels of their acclaimed album Tikounen (ZEP 032LP, 2016) -- a recording The Guardian called "a leap forward in the modern Tuareg sound... truly radical" -- Kel Assouf return with an even more transformative collection: Black Tenere. Produced by the band's keyboardist Sofyann Ben Youssef, the mastermind behind the highly touted AMMAR 808, the new album strips things back to a power trio lineup and focuses on the crackling, forward-looking energy of Nigerien front man Anana Ag Haroun's next level Kel Tamashek (Tuareg) rock songs. Kel Assouf's musical journey has flowed seamlessly from the well-spring created by Ishumar desert rock pioneers Tinariwen -- that Haroun first encountered as a young musician in Niger -- towards sonic horizons that include the rock classicism and the club beats and astral ambiance of European electronic music. On Black Tenere, the band pushes these different textures and influences towards a persuasive, raw-edged crescendo. The messages found in Ag Haroun's lyrics are potent, tragic, and inspiring in their defiance. The struggle of the stateless Kel Tamashek (a name they prefer to the colonial moniker "Tuareg") to maintain control of their ancestral lands, their dignity and their nomadic way of life, has only recently entered the fringes of Western consciousness. Infused into the sharp, unswerving social analysis, and the calls for resistance, there is also the shimmer of nostalgia and a poetry of deep longing. To record the energized soundscapes of Black Tenere, the trio (Ag Harouna plus drummer Oliver Penu and keyboardist/producer Sofyann Ben Youssef) setup at Stureparken Studio in Stockholm. Ben Youssef, a fast-rising producer responsible for the previous Kel Assouf album and recent records by Algerian rai provocateur Sofiane Sadi and AMMAR 808. The recordings brilliantly reflect the strong collective heart of the band -- each musician supporting the album's propulsive, hypnotic purposes -- yet on many occasions stepping forward in thrilling ways. "Alyochan" is unimaginable without the motorik pulse of Penu's trance-like drumming. Ben Youssef's Hammond organ creates a gorgeous defining space (and an unresolved tension) throughout the long intro of "Ariyal". While Ag Haroun's guitar is often wrapped in distortion, on "Tamatan" he pulls things back, and with the help of Enoesque treatments, his guitar feels star bound and weightless.
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LP
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GB 068LP
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$23.50
PREORDER
RELEASE DATE: 2/15/2019
LP version. 180 gram vinyl; Includes download code. On the heels of their acclaimed album Tikounen (ZEP 032LP, 2016) -- a recording The Guardian called "a leap forward in the modern Tuareg sound... truly radical" -- Kel Assouf return with an even more transformative collection: Black Tenere. Produced by the band's keyboardist Sofyann Ben Youssef, the mastermind behind the highly touted AMMAR 808, the new album strips things back to a power trio lineup and focuses on the crackling, forward-looking energy of Nigerien front man Anana Ag Haroun's next level Kel Tamashek (Tuareg) rock songs. Kel Assouf's musical journey has flowed seamlessly from the well-spring created by Ishumar desert rock pioneers Tinariwen -- that Haroun first encountered as a young musician in Niger -- towards sonic horizons that include the rock classicism and the club beats and astral ambiance of European electronic music. On Black Tenere, the band pushes these different textures and influences towards a persuasive, raw-edged crescendo. The messages found in Ag Haroun's lyrics are potent, tragic, and inspiring in their defiance. The struggle of the stateless Kel Tamashek (a name they prefer to the colonial moniker "Tuareg") to maintain control of their ancestral lands, their dignity and their nomadic way of life, has only recently entered the fringes of Western consciousness. Infused into the sharp, unswerving social analysis, and the calls for resistance, there is also the shimmer of nostalgia and a poetry of deep longing. To record the energized soundscapes of Black Tenere, the trio (Ag Harouna plus drummer Oliver Penu and keyboardist/producer Sofyann Ben Youssef) setup at Stureparken Studio in Stockholm. Ben Youssef, a fast-rising producer responsible for the previous Kel Assouf album and recent records by Algerian rai provocateur Sofiane Sadi and AMMAR 808. The recordings brilliantly reflect the strong collective heart of the band -- each musician supporting the album's propulsive, hypnotic purposes -- yet on many occasions stepping forward in thrilling ways. "Alyochan" is unimaginable without the motorik pulse of Penu's trance-like drumming. Ben Youssef's Hammond organ creates a gorgeous defining space (and an unresolved tension) throughout the long intro of "Ariyal". While Ag Haroun's guitar is often wrapped in distortion, on "Tamatan" he pulls things back, and with the help of Enoesque treatments, his guitar feels star bound and weightless.
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LP
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OH 032LP
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$19.50
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RELEASE DATE: 2/1/2019
LP version. Includes download code of full album; Edition of 500. Bassekou Kouyate is back on his original label Out Here Records with his fifth studio album, Miri. Miri is an album about love, friendship, family, and true values in times of crisis. Miri means dream or contemplation in Bamana. On Miri, Kouyate travels back to his hometown Garana, a small village at the banks of the Niger river. The instrumental song "Miri" captures that feeling. Miri talks about Kouyate's mother Yakare who passed away. "Deli" is a song about true friendship. "Konya" talks about jealousy a problem that can even destroy families. "Wele Ni" takes you deep into the history of Segou koro (old Segou), once home of the Bamana kings. The song is about a king who thought he didn't need to treat the people around him with respect, and later realizes he is nothing without the people around him. The song features vocalist Abdoulaye Diabate and Bassekou playing slide ngoni with a bottleneck. Like Mali music legend Abdoulaye Diabate, most guests on the album are longtime collaborators. Bassekou's friendship with Habib Koite goes way back to the early days of Symmetric Orchestra. As a trio together with young Toumani Diabate Bassekou played his first concert in Europe in 1989. "Kanto Kelena (She Left Me Alone)" is a song about a man who was left alone by his loved one. Afel Bocoum (Ali Farka Toure) from the same village Niafunke, sings for peace between the Fula, who herd cattle, and the local cultivators of Mali, on "Tabital Pulaaku". A very special guest is a young Kankou Kouyate, the daughter of Bassekou's brother Fousseyni who used to play in Ngoni Ba -- Kankou can be heard on all of the background vocals. Michael League (Snarky Puppy, Bokanté) went out of his way to add some guitar to the song "Konya". Fiddle player Casey Driessen, whom Bassekou met while touring with Bela Fleck, played on the folk ballad "Nyame". Dom Flemons (Carolina Chocolate Drops) plays bones on Bamana classic "Fanga". "Wele Cuba" is an Afro-Cuban jam about Africa's love for Cuban music; Cuba's answer is sung by Yasel Gonzalez Rivera (Madera Limpia). The album pays homage to two great Malian singers that have blessed quite a number of Bassekou's albums: the one and only Zoumana Tereta and the golden voice of Mali, Kassemady Diabate. Also features Majid Bekkas.
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CD
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AR 113CD
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$16.50
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RELEASE DATE: 2/1/2019
"European music culture has never been closed, on the contrary -- it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre. Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical 'songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment. As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany. Be it organic or electronic music, we think that all of the tracks really deserve your ear!" --Tobi Kirsch and Ubbo Gronewold, June 2018
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OH 032CD
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$14.50
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RELEASE DATE: 2/1/2019
Bassekou Kouyate is back on his original label Out Here Records with his fifth studio album, Miri. Miri is an album about love, friendship, family, and true values in times of crisis. Miri means dream or contemplation in Bamana. On Miri, Kouyate travels back to his hometown Garana, a small village at the banks of the Niger river. The instrumental song "Miri" captures that feeling. Miri talks about Kouyate's mother Yakare who passed away. "Deli" is a song about true friendship. "Konya" talks about jealousy a problem that can even destroy families. "Wele Ni" takes you deep into the history of Segou koro (old Segou), once home of the Bamana kings. The song is about a king who thought he didn't need to treat the people around him with respect, and later realizes he is nothing without the people around him. The song features vocalist Abdoulaye Diabate and Bassekou playing slide ngoni with a bottleneck. Like Mali music legend Abdoulaye Diabate, most guests on the album are longtime collaborators. Bassekou's friendship with Habib Koite goes way back to the early days of Symmetric Orchestra. As a trio together with young Toumani Diabate Bassekou played his first concert in Europe in 1989. "Kanto Kelena (She Left Me Alone)" is a song about a man who was left alone by his loved one. Afel Bocoum (Ali Farka Toure) from the same village Niafunke, sings for peace between the Fula, who herd cattle, and the local cultivators of Mali, on "Tabital Pulaaku". A very special guest is a young Kankou Kouyate, the daughter of Bassekou's brother Fousseyni who used to play in Ngoni Ba -- Kankou can be heard on all of the background vocals. Michael League (Snarky Puppy, Bokanté) went out of his way to add some guitar to the song "Konya". Fiddle player Casey Driessen, whom Bassekou met while touring with Bela Fleck, played on the folk ballad "Nyame". Dom Flemons (Carolina Chocolate Drops) plays bones on Bamana classic "Fanga". "Wele Cuba" is an Afro-Cuban jam about Africa's love for Cuban music; Cuba's answer is sung by Yasel Gonzalez Rivera (Madera Limpia). The album pays homage to two great Malian singers that have blessed quite a number of Bassekou's albums: the one and only Zoumana Tereta and the golden voice of Mali, Kassemady Diabate. Also features Majid Bekkas.
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CD
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CTCD 1035CD
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$13.50
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RELEASE DATE: 1/18/2019
"Once again Clocktower bring you the massive and powerful tracks, such as 'Cloak & Dagger' DJ style led by King Tubby and Lee Perry. And they've also included the slow style of 'Cloak & Dagger' which you will never stop listening for generations to come, young and old. Then the following tracks of 'Blackboard Jungle' with two incomparable versions that will open up your ears to the greatest musicians on bass and drums, etc. We from Clocktower say listen, enjoy, party, and dance to all the fine production. We have compiled this for all who loves reggae music production beyond compare. Music of life." --Alfred Newman Not a reissue, a new compilation of early Lee Scratch Perry material, not previously issued in this form. With tracks recorded from the early '70s with material from Clocktower 7" only releases, etc.
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LP
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CTLP 1045LP
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$15.00
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RELEASE DATE: 1/18/2019
LP version. "Once again Clocktower bring you the massive and powerful tracks, such as 'Cloak & Dagger' DJ style led by King Tubby and Lee Perry. And they've also included the slow style of 'Cloak & Dagger' which you will never stop listening for generations to come, young and old. Then the following tracks of 'Blackboard Jungle' with two incomparable versions that will open up your ears to the greatest musicians on bass and drums, etc. We from Clocktower say listen, enjoy, party, and dance to all the fine production. We have compiled this for all who loves reggae music production beyond compare. Music of life." --Alfred Newman Not a reissue, a new compilation of early Lee Scratch Perry material, not previously issued in this form. With tracks recorded from the early '70s with material from Clocktower 7" only releases, etc.
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2LP
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LIVST 007LP
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$31.00
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RELEASE DATE: 1/18/2019
Movements: Boogie Down In Africa is a compilation of lovingly selected tracks from three albums by Willie Nfor: Mighty Flames Willie Nfor (1979), Feel So Fine (1981) and My Turn (1982). All highly sought-after albums of quality Nigerian boogie funk. This release is Livingstone Studio's seventh release, and it resonates with the label deeply. "The sessions were at Decca Studios at Akoka area of Lagos, they had a 16-track analog recording unit. It was like jazz, you had to be on top of your game as a musician, you couldn't erase the guitar lines or drums and redo it like with digital, one person slips up, you start all over again... So we rehearsed and rehearsed and then we went down and recorded the takes." Cameroon has a tradition of great bass players, names such as Jean Dikoto Mandengue, Vicky Edimo, Alhadji Toure, Basil Barap, Armand Sabal Lecco, Felix Sabal Lecco, Raymond Doumbe, Guy Nsangue, Jay Lou Ava, and Richard Bona. He was in that tradition. His Nigerian career was not well distributed outside Nigeria so that didn't help but when he got to Paris, he quickly became one of the hottest African musicians on the circuit, playing with Mory Kante (for whom he played on three albums and enjoyed a global hit, "Yeke Yeke", which took them touring around the world), Tulio de Piscopo, David Sancious, Charlelie Couture, Mbilia Bel (with whom he toured Southern Africa), Kante Manfila, Manu Dibango, Aicha Kone, and a host of others. Willy was special; before ending up in France, he played in the East of Nigeria and in Lagos both as a session man and as a member of The Mighty Flames, Sonny Okosun's band, and Bongos Ikwe's Groovies. Migration has become one of the biggest global news items in recent times. Willy Ngeh Nfor was a migrant before the word became so popular and tinged with a bad connotation. His music was made to travel. This release is a celebration of music as a space capsule and of man as a vector of creativity, inventions, love, and energy. Everybody migrates at some point in history. Everyone needs to celebrate humanity and free the migrant from bad energy, bad choices, and a bad image. Includes previously unpublished photos and detailed notes; gatefold sleeve.
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LP
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ASH 705LP
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$25.00
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RELEASE DATE: 1/18/2019
"While Montego Bay natives Jackie Bernard, his brother Footy Bernard and cousin Lloyd Kerr recorded under various guises in the early '60s, their collective arrival as The Kingstonians in 1967 marked a sea change not only in the vocal trio's productivity and popularity, but also in the emerging Reggae sound. The Kingstonians made several chart-topping singles between 1968 and 1970, including the massive hit 'Singer Man' whose success ultimately led to the release of their sole LP, Sufferer. Originally issued on Trojan, Sufferer collects a dozen of The Kingstonians' best-known songs. Produced by Derrick Harriott, these truly boss sounds would pack dancehalls on the island as well as become the soundtrack for working-class youth across '70s Britain. The title track remains a classic of the early Reggae era with impeccable arrangements, stuttering organ and soul-steeped lyrics. The Kingstonians' shift away from Rocksteady modes is perhaps most apparent on the aforementioned 'Singer Man' -- an irresistible forward groove, prompting a deeper danceability that is rightly centered on real feeling. Antarctica Starts Here presents the first-time domestic release of Sufferer. Reproducing the original sleeve design, this reissue is part of an archival series that focuses on Trojan's essential '60s and '70s catalogue. Liner notes by Laurence Cane-Honeysett."
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LP
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GB 067LP
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$23.50
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RELEASE DATE: 1/18/2019
Ustad Saami's God Is Not A Terrorist is hypnotic, unvarnished recordings by one of Pakistan's most revered and iconic classical singers. The roots of Saami's music go back to the 13th century, but its message is contemporary and universal: "to sing is to listen." Produced by Grammy Award winner Ian Brennan, God Is Not A Terrorist is volume five of Glitterbeat's acclaimed Hidden Musics series. "75-year-old Ustad Saami risks his life daily in Pakistan to keep alive his microtonal, pre-Islamic, multilingual (Farsi, Sanskrit, Hindi, the ancient language of Vedic, gibberish, Arabic, and Urdu) music. Handed down by his ancestors for over a thousand years, he is the only practitioner of Surti left in the world; when he passes, this music will die with him. Extremists resent his work as they do anything else pre-dating Muhammad. In the land where Osama Bin last hid, Master Ustad Naseeruddin Saami has spent his entire life mastering the nuances of every given note. It has been said that India always had a region where all of the greatest singers came from; that place is Pakistan. "To sing is to listen." These are the words of the master. The translation of his last name, Saami, even means "to hear." For him, everything centers on one note. From that, all else grows and music is seen as a sixth sense for people to better communicate with each other. With great precision, Saami utilizes 49 notes versus the West's mere seven. The scale was founded by a mix-raced royal whose lifelong endeavor was to make peace with duality through art. This predecessor of qawwali music is called khayál, the Arabic word for "imagination"; in it the melody carries the meaning. The lyrics are almost incidental during these call-and-responses. It is the uneven pitches that the master values as being the most searching; those with even numbers are too stable. The master shapes the notes with his hands as he sings like conducting a Theremin. Most masters now hide their knowledge, possessively passing their skills down through family only. Subsequently, traditions have died and withered. Master Saami's mission is to share his knowledge with the world, so that the music may live on freely." --Ian Brennan. LP version; 180 gram vinyl, includes download.
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LP
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AADE 010LP
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$27.50
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RELEASE DATE: 1/18/2019
In 1972, Orchestre Abass released two incredible singles on Polydor. These records -- featuring "Samarin Banza", "Haka Dunia", and other Afro-funk masterpieces -- were powerful enough to knock any music head out, but it wasn't until the discovery of some unreleased material by the band that the seeds for this project were planted. It all happened in 2008 in Ghana. Analog Africa head Samy Ben Redjeb was going through some tapes that had previously been the property of Polygram, one of the major record companies based in west Africa. In the late '80s political instability and curfews had paralyzed the music industry forcing Polygram to close their Ghanaian subsidiaries leaving all of their recordings behind. These recordings had been packed in boxes and left vegetating in an Accra warehouse for three decades. All of the tapes looked unharmed and the Orchestre Abass tape was in excellent condition. Samy began fiddling around with the idea of releasing an album of the band and that plan got an additional boost with le "coup de grace" which had landed in the form of an ultra-rare tune called "Honam" discovered in Sotoboua, a small northern Togolese town. Samy had previously discovered some similar music in Northern Benin and in Nigeria and pictured an area that spread all the way from Northern Ghana to Northern Cameroon, an area he dubbed "The Islamic funk belt" due to the fact that Super Borgou de Parakou, Napo De Mi Amor, Uppers International, and Hamad Kalkaba, just to name a few, were from that "belt" and made up of musicians with an Islamic background. This can be felt and heard in the music and particularly in the singing, since many of the musicians had attended koranic schools and the languages used in the songs often had Arabic elements fused in. Orchestra Abass' recordings, with their heavy, organ-led sound, combined with the deftest of musical touches, were the work of a rhythmic powerhouse, deeming them one of Togo's funkiest bands. Unfortunately, Malam Issa Abass, the founder, guitarist, and organ player of the band, was killed in 1993 by a grenade thrown into his bedroom. Samy tracked down Thon Komla, one of the band´s songwriters, and Abderaman Issa, the guitar player of the band, to help him reconstruct the biography of the band. All the music was licensed directly from the various composers of these songs. 180 gram, virgin vinyl; gatefold sleeve with previously unseen pictures and a detailed biography of Orchestre Abass.
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LP
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OME 1013LP
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$23.00
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RELEASE DATE: 1/18/2019
Indonesia, an archipelago of more than 13,000 islands including Java, the world's most populous island, and Bali, is as diverse as it is large. Having been a crucial stop on international trade routes since as early as the seventh century, the influences on Indonesian musical traditions are deep and wide. Music Of Indonesia, recorded in 1950, is one of the earliest western documents of this rich tradition. Featuring sounds ranging from beautiful Balinese gamelan orchestras and operas to the raw power of katjapi (a variety of boat-lute), and more, this is one of the best glimpses into the Indonesian musical traditions the world will ever see.
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CD
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STCD 1129CD
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$16.50
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RELEASE DATE: 1/18/2019
Amira Kheir, "the diva of the desert" -- as Le Journal du Mali dubbed her and the BBC World News echoed -- has finished her third album, and it has already received a warm welcome. Her first release, View from Somewhere (2011), introduced "an identity that transcends geography," as African Business observed. Songlines described the album as "bold and poetic -- beautiful and fearless." With that, she embarked on three years of performing in settings that ranged from intimate folk clubs and jazz clubs to prominent concert halls and several of the world's most celebrated festivals, earning reviews such as "a charming performer -- comfortable with both high drama and intimate balladry" (The Independent) and "a stunning set infused with many influences but anchored in the sounds and identity of her homeland Sudan" (Fly Global Music). Back in London -- her adoptive home for the past decade -- she recorded her second album, Alsahraa (STCD 1122CD, 2014), in a church with a small acoustic group. "Amira Kheir sings from the heart and soul," Inside World Music praised, and fRoots lauded her "engaging presence" and "lovely honey 'n' spice voice." Ms. Kheir's new album is an elegant collection of traditional songs and dances and original compositions for acoustic and electric instruments in which even the Kurt Weill-Ogden Nash classic, "Speak Low", fits comfortably. The latest issue of Songlines describes Mystic Dance (a five-star "Top of the World" selection) as "an album that hangs in a shimmery ether somewhere between Afro-Latin jazz, desert blues and ancient Sudanese music," and declares "whatever it is, we love it." So will you.
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LP
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MRSSS 562LP
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$25.00
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RELEASE DATE: 1/18/2019
Vinilisssimo presents a first vinyl reissue of Luiz Melodia's Maravilhas Contemporâneas, originally released in 1976. Often overlooked, Maravilhas Contemporâneas is one of the greatest Brazilian albums of all time and one of the finest recordings released on Som Livre. To listen to Luiz Melodia singing is to understand that his music escapes any attempt at labeling. Obviously, the Brazilian music tradition is very present on this record but Melodia's rhythmic sense when using his vocal skills also brings it close to funk or jazz, an idea that is reinforced through the explosive brass arrangements that pervade the whole album. Melodia's first album, Pérola Negra (1973) had featured the outstanding arrangements of Arthur Verocai and the performance of top musicians Hyldon and Meirelles, but Maravilhas Contemporâneas stands as another essential milestone in his career and further proof of his formidable talent. One of the tracks included here, "Juventude Trasviada", was featured in the soundtrack of a popular Brazilian soap opera, Pecado Capital, boosting the artist's increasing popularity. The creative freedom and the wide range of influences managed by Melodia reach their peak in "Baby Rose", a song that evolves from cosmic psychedelia, including the sounds of the sitar, to the peaceful beauty of some kind of highly tuneful samba funk. "Questão De Posse" features fierce proggy guitars while "Veleiro Azul" adds Latin rhythms into this unique recipe, but again, it is the talented voice of Melodia what grants this recording a pass to another league. Maravilhas Contemporâneas deserves to be filed next to the finest albums by Caetano Veloso, Jorge Ben, or Gilberto Gil. This superb album combines the best of Brazil's musical tradition with jazz, funk and gentle psychedelia and is fronted by Melodia's outstanding vocal skills. Presented in facsimile artwork and pressed on 180 gram vinyl.
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CD
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STCD 1130CD
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$16.50
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RELEASE DATE: 1/18/2019
There is a quiet confidence to I Met Her By The River, Dawda Jobarteh's third album for Sterns Africa. While the kora master's technique is prodigious, it's always subservient to the song. And although the songs contain beautiful moments of contemplation, they are never facile or saccharine. Their beauty and intricacy connote no loss of power or slackening of intent. The excellent support of his longtime friends and sidemen notwithstanding, this new album is definitely the work of a singular artist. Jobarteh's repertoire choices reflect both his birth and history in Gambia and his life and home in Denmark. In songs such as "Karang Folo" and "Sidi Yella", you hear the musician who is the grandson of the world-renowned kora player Alhaji Bai Konté; the youngest son of Amadou Bansang Jobarteh, the favorite musician of Gambia's first president; and the nephew of Dembo Konté and Malamini Jobarteh, the kora duo that Sterns first recorded in 1985. Elsewhere you hear other traditions and styles that Dawda has effortlessly absorbed into his own. "Jeg Gik Mig U Den Sommerdag" (which translates from Danish as "I Went Out On A Summer's Day") has a Scandinavian melody that dates back at least to the 17th century and words set in the 19th century, and has since become a perennial summertime favorite in Denmark. But Dawda Jobarteh has more than two sides to him. A world traveler, he appreciates the multifarious cultural influences beyond his personal West African-Northern European axis, and so it shouldn't be surprising, really, that he plays Mongo Santamaria's jazz classic "Afro Blue" on an electrified kora, or that he delivers an exquisite rendition of Adele's multi-million-selling pop hit, "Hello". And then of course there are his own highly original songs, such as the album's title track, a wistful kora solo, or "Begging Boys", a clear-eyed, heartfelt piece of social commentary. Dawda Jobarteh is, after all, a 21st-century citizen of the world -- as everyone is. I Met Her By The River, the third album by the Gambian composer, has been described as "absolutely beautiful", "a gorgeous synthesis of the old and the new", and "a joyful noise from a man right at home in very different musical and geographical places."
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CD
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GB 067CD
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$15.50
PREORDER
RELEASE DATE: 1/18/2019
Ustad Saami's God Is Not A Terrorist is hypnotic, unvarnished recordings by one of Pakistan's most revered and iconic classical singers. The roots of Saami's music go back to the 13th century, but its message is contemporary and universal: "to sing is to listen." Produced by Grammy Award winner Ian Brennan, God Is Not A Terrorist is volume five of Glitterbeat's acclaimed Hidden Musics series. "75-year-old Ustad Saami risks his life daily in Pakistan to keep alive his microtonal, pre-Islamic, multilingual (Farsi, Sanskrit, Hindi, the ancient language of Vedic, gibberish, Arabic, and Urdu) music. Handed down by his ancestors for over a thousand years, he is the only practitioner of Surti left in the world; when he passes, this music will die with him. Extremists resent his work as they do anything else pre-dating Muhammad. In the land where Osama Bin last hid, Master Ustad Naseeruddin Saami has spent his entire life mastering the nuances of every given note. It has been said that India always had a region where all of the greatest singers came from; that place is Pakistan. "To sing is to listen." These are the words of the master. The translation of his last name, Saami, even means "to hear." For him, everything centers on one note. From that, all else grows and music is seen as a sixth sense for people to better communicate with each other. With great precision, Saami utilizes 49 notes versus the West's mere seven. The scale was founded by a mix-raced royal whose lifelong endeavor was to make peace with duality through art. This predecessor of qawwali music is called khayál, the Arabic word for "imagination"; in it the melody carries the meaning. The lyrics are almost incidental during these call-and-responses. It is the uneven pitches that the master values as being the most searching; those with even numbers are too stable. The master shapes the notes with his hands as he sings like conducting a Theremin. Most masters now hide their knowledge, possessively passing their skills down through family only. Subsequently, traditions have died and withered. Master Saami's mission is to share his knowledge with the world, so that the music may live on freely." --Ian Brennan. LP version on 180 gram vinyl, includes download.
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7"
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ROOTS 006EP
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$11.00
PREORDER
RELEASE DATE: 1/4/2019
Digital roots production by Murray Man from 2015. Played extensively by Chalice Soundsystem and Aba Shanti. Proper sound system anthem for the first time on vinyl 7".
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LP
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MSR 002LP
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Continuing the Cape Verde series, Mar & Sol bring this fantastic masterpiece of an LP Nha D'stine from the legendary singer Américo Brito and his band Djarama. Originally recorded in 1983 on a private press by Américo Brito, Mar & Sol bring it back to life. Includes insert.
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12"
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LCT 002EP
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Second release for La Casa Tropical. In the early '80s, Mbaqanga stars The Soul Brothers formed a touring group first named Jaws after member Jaws Dlathu, later named Bayete with their first recording. After a failed debut, Bayete went into the studio with Jerry Mhlanga and Decibel Music, the English division of De La Music interested in capitalizing on disco. "Blue Monday" is a cheap sounding drinking song. "Open Your Heart (Vula)" has a natural feel reminiscent of the pre-MIDI, early '80s disco sound, perfectly blending synths and keyboards, funky guitar, and the amazing vocals of Jabu.
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LP
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AFS 037LP
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Afrosynth Records present a reissue of Night Force & The Tom Cats' Dance, a South African disco album originally released in 1981. The title track "Dance", written by Belgian composer Frank Degrijse, was released by Night Force and became a hit throughout Europe in 1980. In South Africa the song was released with permission at a slower tempo (the original 45rpm was "officially" slowed down to 33rpm). Added to this are four tracks by Music Team's in-house production team, the Tom Cats -- including dub reworkings of Afrosynth releases "Burnin Beat" (AFS 034EP, 2017) and "Searchin", here released as "Hot Stuff" and "Search For Love" respectively. Synth-heavy oddities "You Are My Fire" and "Shake Shake" make up the rest of the track list.
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LP
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LBN 105LP
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$22.00
PREORDER
RELEASE DATE: 1/4/2019
LP version. Created in 2006, Setenta, the Latin soul band from Paris, spread a unique mix over the world scene and now deliver We Latin Like That. After sparkling debuts with their first albums Funky Tumbao (2010), Latin Piece Of Soul (HC 025CD/LP, 2013), Paris To Nueva York (LBN 101CD/LP, 2016), and following successful live experiences and strong links developed with New York and Joe Bataan, the Latin soul legend, the French seven-piece combo is back with this modern definition of Latin music. Composed and arranged collectively, this new opus mixes up Latin, funk, pop and jazz, with the same percussive and strong vocal section, sung in Spanish, English, Creole and Yoruba, (cf. their arrangement of the traditional "Rezo A Obatala"). They also salute the great Camilo Azuquita with a rework of "Guajiro Bacan" (Ramon "Saoco" Perez), which they bring as a pledge of allegiance to the Latin soul genre. Setenta spreads love, peace and positive energy all over the world, breaking rules and claiming We Latin Like That.
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CD
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LBN 105CD
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$18.00
PREORDER
RELEASE DATE: 1/4/2019
Created in 2006, Setenta, the Latin soul band from Paris, spread a unique mix over the world scene and now deliver We Latin Like That. After sparkling debuts with their first albums Funky Tumbao (2010), Latin Piece Of Soul (HC 025CD/LP, 2013), Paris To Nueva York (LBN 101CD/LP, 2016), and following successful live experiences and strong links developed with New York and Joe Bataan, the Latin soul legend, the French seven-piece combo is back with this modern definition of Latin music. Composed and arranged collectively, this new opus mixes up Latin, funk, pop and jazz, with the same percussive and strong vocal section, sung in Spanish, English, Creole and Yoruba, (cf. their arrangement of the traditional "Rezo A Obatala"). They also salute the great Camilo Azuquita with a rework of "Guajiro Bacan" (Ramon "Saoco" Perez), which they bring as a pledge of allegiance to the Latin soul genre. Setenta spreads love, peace and positive energy all over the world, breaking rules and claiming We Latin Like That.
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LP
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RUP 006LP
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Iraqi band Babylon Trio from Brussels plays an electrified rave-y mix of contemporary Iraqi and Arabic music styles, such as choubi choubi, dabke, maqam, and electronic hybrids that set the dance floor on fire. Their debut album Habibi features songs about their old life in Iraq and new life in Brussels, with topics such as separation from loved ones, love, beauty, honor and pure Arabic party bangers. 2018 will mark the power of the contemporary Iraqi street sound of Babylon Trio throughout Belgium, Europe and beyond.
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