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2LP
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AR 149LP
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LP version. Good Evening Black Buddha is Black Jesus eXperience's seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes Good Evening Black Buddha, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience's inspiration is Ethiopian/Australian singer Enushu Taye. Enushu's openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of Good Evening Black Buddha and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) complements and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends, powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on Good Evening Black Buddha rove from the lightness of touch of a trio to BJX's full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister on guitar, Larry Crestani on guitar and his own invention "kraartar", over the deep grooves of Richard Rose on bass, James Davies on kit, and Kahan Harper on percussion. Black Jesus eXperience is also proud to be joined by conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.
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AR 139CD
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Gyedu-Blay Ambolley is revered as the Simigwahene in Ghana, the king of Simigwa-highlife. Because of his deep, soulful, and funky highlife sound, he is also sometimes referred to as the "James Brown of Ghana". And not without reason. His blend of highlife, funk, jazz, soul, and proto-rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played in the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful highlife sound he called "Simigwa-Do". Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and "musical-life-force" has more than 30 music albums to his credit. On his new album Gyedu-Blay Ambolley And Hi-Life Jazz you can hear his versions of some classic jazz tunes like "Round Midnite", "Love Supreme", "Footprints", and "All Blues" as well as some new compositions by the Simigwa-man himself. For fans of: Ebo Taylor, Orlando Julius, Dele Sosimi, Wayne Shorter, Herbie Hancock.
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2LP
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AR 139LP
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Double LP version. Gyedu-Blay Ambolley is revered as the Simigwahene in Ghana, the king of Simigwa-highlife. Because of his deep, soulful, and funky highlife sound, he is also sometimes referred to as the "James Brown of Ghana". And not without reason. His blend of highlife, funk, jazz, soul, and proto-rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played in the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful highlife sound he called "Simigwa-Do". Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and "musical-life-force" has more than 30 music albums to his credit. On his new album Gyedu-Blay Ambolley And Hi-Life Jazz you can hear his versions of some classic jazz tunes like "Round Midnite", "Love Supreme", "Footprints", and "All Blues" as well as some new compositions by the Simigwa-man himself. For fans of: Ebo Taylor, Orlando Julius, Dele Sosimi, Wayne Shorter, Herbie Hancock.
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AR 149CD
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Good Evening Black Buddha is Black Jesus eXperience's seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes Good Evening Black Buddha, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience's inspiration is Ethiopian/Australian singer Enushu Taye. Enushu's openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of Good Evening Black Buddha and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) complements and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends, powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on Good Evening Black Buddha rove from the lightness of touch of a trio to BJX's full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister on guitar, Larry Crestani on guitar and his own invention "kraartar", over the deep grooves of Richard Rose on bass, James Davies on kit, and Kahan Harper on percussion. Black Jesus eXperience is also proud to be joined by conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.
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AR 157LP
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LP version. An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
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AR 157CD
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An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
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AR 153LP
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The second collaboration between the Berlin based groove-outfit Onom Agemo and the Malian guitarist, singer, and songwriter Ahmed Ag Kaedy. After the successful release of their first project, a 7" single titled Onin Okalan in 2017, they are now presenting a full album which they recorded in Berlin and Bamako between 2018 and 2020. The title Tartit roughly translates to unity, as it unifies not only funk psychedelica with desert blues, but also unites musicians whose backgrounds are as different as can be, but whose musical tastes are surprisingly in tune. Music and lyrics written by Ahmed Ag Kaedy, arranged by Onom Agemo and the Disco Jumpers. Credits: Ahmed Ag Kaedy - guitar, vocals, composition; Johannes Schleiermacher - sax, flute, synthesizers; Kalle Zeier - guitar; Jörg Hochapfel - organ, synthesizers; Kalle Enkelmann - bass; Mahalmadane Traore - drums (Medin, Tanakra, Kidal); Bernd Oezsevim - drums (At Oui Tass, Alghafiat, Mani Mani). Produced, recorded and mixed by Kalle Enkelmann and Johannes Schleiermacher except "Alghafiat": recorded and mixed by Milan Marti. Mastered by Kelly Hibbert.
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AR 155LP
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LP version. Includes download card. Fresh Afro-soul music -- Ghana's highlife going by the heartbeat of '70s soul music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singer-percussionist Eric Owusu. Speaking the same musical language, they quickly realized the fruitful outcome of their musical encounter and decided to spend a couple of months composing their original music. Digging deep into both their backgrounds and musical identities, they came up with an organic result both like to label as Afro-soul. After seeking for the right companions for the upcoming journey and stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a seven-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as highlife, Adowa, and Wassoulou. Their aesthetic vision is inspired by soul music from the '60s and '70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal arrangements and lyrics by Eric Owusu.
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AR 147LP
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Manuel Volpe (Rhabdomantic Orchestra) about this album: "This album is a music novel inspired by surrealism and South American magic realism. Every instrument acts as a character in action and its narrative set is studied to give an imaginary experience during the listening. The main themes are the transformation, the spiritual awakening and the political consciousness, the sublime and the worldly. To write it I've studied lot of different music formulas from all over the world (Afrobeat, Sufí music, Balinese gamelan, Colombian corrulao, merengue, Pygmies poliphonies, contemporary... etc.) with the aim to avoid a genre-oriented music but to reach a resume, something like a universal in music."
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AR 137LP
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LP version. Includes download card. Praised as heirs of Amazonic psychedelia and chicha traditions, as well as sound innovators, Peruvian band Bareto mix exciting versions of cumbia classics with their own, unique compositions, in concerts that should be promoted as dance parties. Bareto were performers at Womex 2016, have toured Europe and North America, including Roskilde Festival 2015 and Montreal Jazz Festival 2017, among others. Recorded just before the Covid pandemic between Lima and Bogotá, El Amor No Es Para Los Débiles is Bareto's second effort with Colombian producer Felipe Álvarez. The album marks the debut of singer Javier Arias in duets with some renown Peruvian figures such as creole diva Bartola and techno cumbia queen Rossy War. The album also features sonero and comedian Melcochita and a bunch of Colombian guests, including singer María del Rosario Cardona and percussionist Chongo. The first single is "Tu Recuerdo", a song that mixes cumbia with an Andean flavor. Both their last two records of original material, Ves Lo Quequieres Ver (You See What You Want To See, 2013) and Impredecible (Impredictable, 2015), have been nominated for the Latin Grammy Awards. Line-up: Rolo Gallardo -- guitar, background vocals; Pedro Rodríguez -- guitar; Jorge Giraldo -- bass, background vocals; Jorge Olazo -- percussion; Sergio Sarria -- drums; Raffo Carlos -- keys, background vocals; Javier Arias - lead vocals.
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AR 155CD
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Fresh Afro-soul music -- Ghana's highlife going by the heartbeat of '70s soul music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singer-percussionist Eric Owusu. Speaking the same musical language, they quickly realized the fruitful outcome of their musical encounter and decided to spend a couple of months composing their original music. Digging deep into both their backgrounds and musical identities, they came up with an organic result both like to label as Afro-soul. After seeking for the right companions for the upcoming journey and stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a seven-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as highlife, Adowa, and Wassoulou. Their aesthetic vision is inspired by soul music from the '60s and '70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal arrangements and lyrics by Eric Owusu.
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AR 137CD
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Praised as heirs of Amazonic psychedelia and chicha traditions, as well as sound innovators, Peruvian band Bareto mix exciting versions of cumbia classics with their own, unique compositions, in concerts that should be promoted as dance parties. Bareto were performers at Womex 2016, have toured Europe and North America, including Roskilde Festival 2015 and Montreal Jazz Festival 2017, among others. Recorded just before the Covid pandemic between Lima and Bogotá, El Amor No Es Para Los Débiles is Bareto's second effort with Colombian producer Felipe Álvarez. The album marks the debut of singer Javier Arias in duets with some renown Peruvian figures such as creole diva Bartola and techno cumbia queen Rossy War. The album also features sonero and comedian Melcochita and a bunch of Colombian guests, including singer María del Rosario Cardona and percussionist Chongo. The first single is "Tu Recuerdo", a song that mixes cumbia with an Andean flavor. Both their last two records of original material, Ves Lo Quequieres Ver (You See What You Want To See, 2013) and Impredecible (Impredictable, 2015), have been nominated for the Latin Grammy Awards. Line-up: Rolo Gallardo -- guitar, background vocals; Pedro Rodríguez -- guitar; Jorge Giraldo -- bass, background vocals; Jorge Olazo -- percussion; Sergio Sarria -- drums; Raffo Carlos -- keys, background vocals; Javier Arias - lead vocals.
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AR 141LP
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RSN, producer, DJ and musician from Athens, Greece, delivers his fifth album named Motion and his second LP for Agogo Records. In this nine-track album (two instrumental songs and seven with vocals) RSN shows all of his music influences. From hip-hop to electronica and from blues to trip-hop. Thaliah, MC Yinka, Lefteris Samson, Irene, Quilombo and JB Nimble all feature on the record the cover is designed by Till Noon.
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AR 145CD
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Not long after the release of Two Tribes Vol. 1 (AR 113CD/LP), Agogo Records realized that the journey had only just begun and lots of stories still had to be told. Motivated by lots of positive responses, the label soon put to work researching and compiling music for what would become Two Tribes Volume Two. Agogo Records put emphasis on expanding to other European regions as well as including different countries than on Vol. 1 and the label also wanted to give it a bit of a different musical twist. The result are 14 tracks covering what the label considers a broad and diverse spectrum but still clinging to our initial idea of building a musical bridge between the continents of Africa and Europe. The immense cultural diversity of both is represented by newcomers alongside more well-known names, both of which have a strong connection to the rich musical traditions of Africa. On board are African artists living in diaspora on equal footing with Europeans that incorporate their high affinity to the African continent into their music. Exciting outer-national collaborations round off the selection for Volume Two. Features tracks by Onipa (Strut Records), Karthala 72, David Nesselhauf (Kryptox Records), Wanubalé vs. Dr. Markuse, Lua Preta, Isilda Viegas, Alai K, Isaac and Octa Push, Guts, Jowee Omicil, The Kutimangoes, Dowdelin, Afrodyssey Orchestra, Rabii Harnoune & V.B. Kühl, Alma Negra, Andi Otto, and Kaleo Sansaa.
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AR 145LP
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Double LP version. Gatefold sleeve. Not long after the release of Two Tribes Vol. 1 (AR 113CD/LP), Agogo Records realized that the journey had only just begun and lots of stories still had to be told. Motivated by lots of positive responses, the label soon put to work researching and compiling music for what would become Two Tribes Volume Two. Agogo Records put emphasis on expanding to other European regions as well as including different countries than on Vol. 1 and the label also wanted to give it a bit of a different musical twist. The result are 14 tracks covering what the label considers a broad and diverse spectrum but still clinging to our initial idea of building a musical bridge between the continents of Africa and Europe. The immense cultural diversity of both is represented by newcomers alongside more well-known names, both of which have a strong connection to the rich musical traditions of Africa. On board are African artists living in diaspora on equal footing with Europeans that incorporate their high affinity to the African continent into their music. Exciting outer-national collaborations round off the selection for Volume Two. Features tracks by Onipa (Strut Records), Karthala 72, David Nesselhauf (Kryptox Records), Wanubalé vs. Dr. Markuse, Lua Preta, Isilda Viegas, Alai K, Isaac and Octa Push, Guts, Jowee Omicil, The Kutimangoes, Dowdelin, Afrodyssey Orchestra, Rabii Harnoune & V.B. Kühl, Alma Negra, Andi Otto, and Kaleo Sansaa.
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AR 143CD
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"For me, these special moments when we close our eyes and look inwards are intense experiences. Between sleep and wakefulness, such impressions inspire me to translate images from daydreams into music. Jazz and Funk, Arabic and Central Asian sounds and grooves, and above all, improvisation -- this is my musical language. Thank you to the wonderful musicians who have brought these compositions to life!" --Rolf Zielke, February 2021
The pianist Rolf Zielke has been a constant in the German Jazz scene for many years. The spectrum of his work, bands and projects is huge and he keeps surprising us with new ideas and concepts. On his new work Beaches In Your Soul he takes you on an exciting musical journey that should not be missed. Each piece on this album embodies its own story, sets a different basic mood and takes us to a different imaginary place. And yet everything interlocks wonderfully. From the first piece you can feel that Rolf Zielke and his band are interested in something. It goes on a spiritual excursion with an impressive variety of rhythms, a great wealth of instruments and an almost outrageously positive playing attitude. Despite all the virtuosity and joy of playing, nothing is "overplayed" here. The focus here is not on refinements, but rather on the unexcited search for the appropriate form of expression and the right timbre. Or to put it another way: It's more about sounds than notes. The unusual instrumentation alone results in many surprising moments. Based on a long-standing core band around percussionist Mustafa Boztüy, saxophonist Stephan Abel, and cellist Stephan Braun, Rolf Zielke has expanded his ensemble in a targeted manner. Particularly unusual in this context: the timpanist Friedhelm May, whose playing gives the piece "Welcome the Shaman". It is also striking that there is no bass player in this band. The cellist Stephan Braun takes on the bass part in most cases, but is also able to play grandiose improvised solos on the cello, which have so far only rarely been heard in this form in jazz. Particularly impressive in the second part of the opening piece "Awakening" or in the piece "Night Sea Journey", in which the cello engages in a gripping dialogue with Mohannad Nasser's oud.
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2LP
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AR 143LP
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Double LP version. Gatefold sleeve. "For me, these special moments when we close our eyes and look inwards are intense experiences. Between sleep and wakefulness, such impressions inspire me to translate images from daydreams into music. Jazz and Funk, Arabic and Central Asian sounds and grooves, and above all, improvisation -- this is my musical language. Thank you to the wonderful musicians who have brought these compositions to life!" --Rolf Zielke, February 2021
The pianist Rolf Zielke has been a constant in the German Jazz scene for many years. The spectrum of his work, bands and projects is huge and he keeps surprising us with new ideas and concepts. On his new work Beaches In Your Soul he takes you on an exciting musical journey that should not be missed. Each piece on this album embodies its own story, sets a different basic mood and takes us to a different imaginary place. And yet everything interlocks wonderfully. From the first piece you can feel that Rolf Zielke and his band are interested in something. It goes on a spiritual excursion with an impressive variety of rhythms, a great wealth of instruments and an almost outrageously positive playing attitude. Despite all the virtuosity and joy of playing, nothing is "overplayed" here. The focus here is not on refinements, but rather on the unexcited search for the appropriate form of expression and the right timbre. Or to put it another way: It's more about sounds than notes. The unusual instrumentation alone results in many surprising moments. Based on a long-standing core band around percussionist Mustafa Boztüy, saxophonist Stephan Abel, and cellist Stephan Braun, Rolf Zielke has expanded his ensemble in a targeted manner. Particularly unusual in this context: the timpanist Friedhelm May, whose playing gives the piece "Welcome the Shaman". It is also striking that there is no bass player in this band. The cellist Stephan Braun takes on the bass part in most cases, but is also able to play grandiose improvised solos on the cello, which have so far only rarely been heard in this form in jazz. Particularly impressive in the second part of the opening piece "Awakening" or in the piece "Night Sea Journey", in which the cello engages in a gripping dialogue with Mohannad Nasser's oud.
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AR 135CD
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To Know Without Knowing, Mulatu Astatke & Black Jesus Experience's album, is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia, and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia, and UK/Europe. Mulatu Astatke is the father of Ethio-jazz and one of Africa's most influential and enduring musical figures. Black Jesus Experience is a community of artists, centered around a twelve-piece global-funk-machine born of Australia's vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, "My favorite backing band" and, "...they're family." Mulatu's great contribution to music has been to combine Jazz and funk grooves with Ethiopia's distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu's equally great contribution has been to share both his enduringly unique modernity and Ethiopia's timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. To Know Without Knowing is the product of this gift.
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AR 135LP
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2021 restock; LP version. To Know Without Knowing, Mulatu Astatke & Black Jesus Experience's album, is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia, and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia, and UK/Europe. Mulatu Astatke is the father of Ethio-jazz and one of Africa's most influential and enduring musical figures. Black Jesus Experience is a community of artists, centered around a twelve-piece global-funk-machine born of Australia's vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, "My favorite backing band" and, "...they're family." Mulatu's great contribution to music has been to combine Jazz and funk grooves with Ethiopia's distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu's equally great contribution has been to share both his enduringly unique modernity and Ethiopia's timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. To Know Without Knowing is the product of this gift.
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AR 127CD
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Debut album by prize-winning recording artist, composer, and arranger Natalie Greffel out of Berlin. Natalie was born in post-colonial Mozambique and raised in Denmark from infancy. After moving to Berlin in 2010 to attend a music conservatory, and while engaged in various projects -- Radio Citizen, Karl Hector & The Malcouns, Onom Agemo & The Disco Jumpers -- that exercised her stylistic flexibility. She was introduced to the pianist of Brazilian star Ed Motta; he encouraged her to record a demo. Inspired anew by the harmonic structures of Antonio Carlos Jobim, Hermeto Pascoal, Noel Rosa, Nelson Cavaquinho, Milton Nascimento, Elza Soares, Elis Regina, Gilberto Gil, and Chico Buarque, architects of Brazilian music, Natalie began to interpret these blueprints in her own unique lexicon.
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AR 127LP
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LP version. Debut album by prize-winning recording artist, composer, and arranger Natalie Greffel out of Berlin. Natalie was born in post-colonial Mozambique and raised in Denmark from infancy. After moving to Berlin in 2010 to attend a music conservatory, and while engaged in various projects -- Radio Citizen, Karl Hector & The Malcouns, Onom Agemo & The Disco Jumpers -- that exercised her stylistic flexibility. She was introduced to the pianist of Brazilian star Ed Motta; he encouraged her to record a demo. Inspired anew by the harmonic structures of Antonio Carlos Jobim, Hermeto Pascoal, Noel Rosa, Nelson Cavaquinho, Milton Nascimento, Elza Soares, Elis Regina, Gilberto Gil, and Chico Buarque, architects of Brazilian music, Natalie began to interpret these blueprints in her own unique lexicon.
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AR 029LP
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2013 release. Anyone familiar with Mop Mop will already know that their refined style has already lend them a unique place somewhere between the worlds of jazz, funk, Latin, and the Italian postmodern style allowed the band to achieve the International film business as part of Woody Allen's To Rome With Love (2013) movie soundtrack. But with this latest LP, Isle Of Magic, Mop Mop digs even deeper to bring us one of their most engaging and organic records yet. Mop Mop's fourth studio album has come together over the course of a couple of years where producer Andrea Benini has been searching for new directions with the band. Collaborations in the album include funk legend Fred Wesley, Trinidad-born poet/singer Anthony Joseph, and Finnish-Egyptian vocalist Sara Sayed. Over fifteen musicians were involved during the production of the album including Andrea Benini's co-arranger Alex Trebo on piano, Pasquale Mirra on vibraphone and marimba, Guglielmo Pagnozzi on clarinet and flute, Johannes Schleiermacher (Bajka, Radio Citizen, Woima Collective) on baritone sax, Lorenzo Ternelli and Salvatore Lauriola on bass, and Danilo Mineo on percussions, just to name a few. Isle Of Magic contains 13 tracks of pure Voodoo jazz, Caribbean flavors, Afro-funk, exotic rhythms, and soul music. The album has been recorded between Germany and Italy with the use of vintage analog equipment to achieve a sound with all the "warm" qualities of vintage analog tape recordings; sessions have been recorded during the period March/August 2011. Isle Of Magic is an imaginary land populated by musicians who spend their time fishing, cooking, playing, and practicing Voodoo rites at night. The whole album represents the soundtrack of this imaginary life. 180 gram vinyl; includes download code.
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AR 131CD
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Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo, on the right side, is the house of his birth, which was also his parental home. The Ghanaian legend's latest release 11th Street, Sekondi shows off a pride in his heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and disco Ghanaian highlife. 11th Street, Sekondi is his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humor into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector's staple since his appearance on the seminal Ghana Soundz (SNDW 001LP, 2002), which re-introduced the world to his trademark Simigwa style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularized by artists such as E.T. Mensah, before opening up in the '50s and '60s with a wave of guitar-driven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley's trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Taylor. Ambolley's latest album, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician's life. "Black Woman" is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like "Little Small Girl" showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues, and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released German label Agogo records, after the acclaimed Ketan (2017). It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghanaian Embassy in Washington DC for producing the first ever commercially recorded rap album.
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AR 131LP
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2LP version. Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo, on the right side, is the house of his birth, which was also his parental home. The Ghanaian legend's latest release 11th Street, Sekondi shows off a pride in his heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and disco Ghanaian highlife. 11th Street, Sekondi is his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humor into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector's staple since his appearance on the seminal Ghana Soundz (SNDW 001LP, 2002), which re-introduced the world to his trademark Simigwa style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularized by artists such as E.T. Mensah, before opening up in the '50s and '60s with a wave of guitar-driven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley's trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Taylor. Ambolley's latest album, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician's life. "Black Woman" is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like "Little Small Girl" showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues, and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released German label Agogo records, after the acclaimed Ketan (2017). It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghanaian Embassy in Washington DC for producing the first ever commercially recorded rap album.
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AR 119LP
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DJ Oonops presents Volume 2 of his extensive compilation covering genres from dub, jazz, funk, soul to beats and hip-hop, featuring pretty well-known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC). Be that jazzy beats or virtuoso live jazz drums, keys, and guitars from Japan by Kazumi Kaneda, RF, and 45, aka Swing-O, a first-time-on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia. Also you're gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powerful voice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork, Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork. Be sure to get your hands on this limited peace of work before it's gone like Volume 1. Also features Ce'Cile & Toddla T, Manasseh, Bird Moves, Amy True, and Nubya Garcia. Gatefold sleeve.
Beside his vinyl-only show on Brooklyn Radio, Oonops is spinning banging club sets to relaxed mixtures for vernissages, museums, or theaters. And furthermore, he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.
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