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2LP
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AR 143LP
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$27.50
PREORDER
RELEASE DATE: 5/28/2021
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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CD
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AR 143CD
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$15.50
PREORDER
RELEASE DATE: 5/28/2021
"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 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 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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2LP
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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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2LP
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AR 129LP
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Double LP version. Gatefold sleeve. Wanubalé -- nine guys from Berlin, inspired by the city's fresh jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin. Heavy influences from jazz, neo soul, and funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into dub, bass music, and broken beats. And several members are DJs, as well. The Wanubalés are first-rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair; everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds, and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced, and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.
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AR 129CD
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Wanubalé -- nine guys from Berlin, inspired by the city's fresh jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin. Heavy influences from jazz, neo soul, and funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into dub, bass music, and broken beats. And several members are DJs, as well. The Wanubalés are first-rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair; everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds, and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced, and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.
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AR 123CD
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The Hoodna Orchestra is a 12-member orchestra who studies and investigates the African origins of western popular music; Ofel is their second album. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label. Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian, Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel. Personnel: Elad Gelert - baritone saxophone; Rom Shani - alto saxophone; Eylon Tushiner - tenor saxophone; Uri Selinger - trombone; Asaf Oseasohn - trumpet; Sefi Zisling - trumpet; Arthur Krasnobaev - trumpet; Tomer Zuk - keyboards; Amir Sadot - bass guitar; Ilan Smilan - electric guitar; Matan Asayag - drums; Rani Birenbaum - percussion; Shahar Ber - percussion; Raz Eytan - percussion.
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AR 121CD
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Were David Hanke to pass on from this mortal coil tomorrow, Nevertheless might prove his perfect epitaph. It's a refreshingly honest and autobiographical album that harks back to his early twenty first century musical influences but actually has its route much earlier in this self-styled "Renegade Of Jazz"'s life. The album's appellation refers back to Hanke's first live concert experience when in 1984, at the age of six, he went to see a blues-rock band called Nevertheless whose guitarist was none other than his own father. With music clearly already running through Hanke's DNA, this was the moment that, perhaps subconsciously, triggered his life-long love affair with soulful sonic creativity. Nevertheless sparks into action with the irresistibly uplifting "Lemon Squeezers," a suitably life-affirming opener complete with exhilarating guitars and as the man tells us, "(the) basic characteristic, the beat!" and it's a rock-solid beat at that. With some Renegades Of Jazz trademark horns added for extra spice, and of course everything programmed by Hanke himself, this is the perfect introduction to his scintillating style. "Big Fish" continues the brass obsession -- it has a more sonorous, almost big band feel, even though it is being delivered solely by one pair of hands and that singular, special musical brain. Hanke adds some nifty piano work for extra cheekiness, a theme continued on "Another Day (Going In Too Deep)," where Hammond-style keys and perfectly chosen vocal samples do battle with more foot-friendly beats, before going deep with Afro-flavored licks and horn riffs. The title track starts life as something of a moment of calm with a more introspective feel, but not for long as it makes way for more trademark beats and vocal loops, and more of those irresistible horns! It's the prelude for a watershed moment on the album as Hanke introduces his first guest in the shape of Bristolian rapper Donnie Numeric (one half of Delegates Of Rhyme) on the scorching "Hot Wired." It's the perfect illustration of our producer's love for the hip-hop art form, and Donnie's smooth lyrical flow combines with those Renegades Of Jazz brass and guitar riffs to make more demands to move one's feet. CD version in digipak.
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AR 121LP
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Double LP version. Gatefold sleeve. Were David Hanke to pass on from this mortal coil tomorrow, Nevertheless might prove his perfect epitaph. It's a refreshingly honest and autobiographical album that harks back to his early twenty first century musical influences but actually has its route much earlier in this self-styled "Renegade Of Jazz"'s life. The album's appellation refers back to Hanke's first live concert experience when in 1984, at the age of six, he went to see a blues-rock band called Nevertheless whose guitarist was none other than his own father. With music clearly already running through Hanke's DNA, this was the moment that, perhaps subconsciously, triggered his life-long love affair with soulful sonic creativity. Nevertheless sparks into action with the irresistibly uplifting "Lemon Squeezers," a suitably life-affirming opener complete with exhilarating guitars and as the man tells us, "(the) basic characteristic, the beat!" and it's a rock-solid beat at that. With some Renegades Of Jazz trademark horns added for extra spice, and of course everything programmed by Hanke himself, this is the perfect introduction to his scintillating style. "Big Fish" continues the brass obsession -- it has a more sonorous, almost big band feel, even though it is being delivered solely by one pair of hands and that singular, special musical brain. Hanke adds some nifty piano work for extra cheekiness, a theme continued on "Another Day (Going In Too Deep)," where Hammond-style keys and perfectly chosen vocal samples do battle with more foot-friendly beats, before going deep with Afro-flavored licks and horn riffs. The title track starts life as something of a moment of calm with a more introspective feel, but not for long as it makes way for more trademark beats and vocal loops, and more of those irresistible horns! It's the prelude for a watershed moment on the album as Hanke introduces his first guest in the shape of Bristolian rapper Donnie Numeric (one half of Delegates Of Rhyme) on the scorching "Hot Wired." It's the perfect illustration of our producer's love for the hip-hop art form, and Donnie's smooth lyrical flow combines with those Renegades Of Jazz brass and guitar riffs to make more demands to move one's feet.
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AR 117LP
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Double LP version. Now, in the twentieth year of their existence, there cannot be a better title for the new album by Mo'Horizons, Music Sun Love. Let it be Latin, soul reggae, cumbia, samba or music from the Balkans, Mo'Horizons are cultural travelers and feel at home where music is alive. Over the years the duo toured the world. For Music Sun Love they re-reconnected with a lot of the musicians they met on their ongoing journey. The albums kicks off with "Wagabunga Dance", a collaboration with Stoyan Royanov from Bulgaria. The multi-instrumental talent is a member of the Mo'Horizons Soundsystem. "Rhythm Is A Dancer" was recorded in Columbia with local musicians and you may have guessed it by now, it is Mo'Horizons' interpretation of the Eurodance classic by Snap!, adding even more rhythm, fire, and emotion to turn it into a Cumbia burner. Mo'Horizons move on with "Mo Space" and "Hang Loose", recorded together with hangdrum virtuoso Patrik from the Czech Republic. The first single "You Gotta Know It" is one these Mo'Horizons sure shots, an irresistibly driving rhythm with a catchy chorus sung by Noam Bar from Israel. Which brings in Mr. Morski from Bulgaria, another global mover. "Little Mouse" is his kind of theme tune, recorded with a lot of charm and even more fun. "La Vida Es Solo Hoy" adds Ivan Camelo from Columbia to the impressive line-up. He played with Mo'Horizons for the first time in 2017 rocking the Gran Baba, the Horizons' favorite Chiringuito hang-out in Spain, with his unique vocal stylings. "Ella Dice" takes Music Sun Love back home, re-uniting the team with Nené Vasquez from Venezuela who adds a vibrant live feeling to the track. The list of international guests is endless. "Gypsy Ghetto Feel" gets a groovy boost by percussionist Elvis Aljus, aka Gypsy Brown, who is an integral member of Australian funk favorites The Bamboos' rhythm section and often joins Mo'Horizons when they tour down under. Noam Bar returns for the vocal part, adding a cross cultural soul feeling to this Israeli-Australian groove venture. "Inner Melody" closes Music Sun Love in style. It is an unreleased Mo'Horizons remix of the reggae original by Greek DJ colleague Palov turned into a very '60s sounding club track. Also features Connección Bogotá and Tricky Pantrick.
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AR 117CD
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Now, in the twentieth year of their existence, there cannot be a better title for the new album by Mo'Horizons, Music Sun Love. Let it be Latin, soul reggae, cumbia, samba or music from the Balkans, Mo'Horizons are cultural travelers and feel at home where music is alive. Over the years the duo toured the world. For Music Sun Love they re-reconnected with a lot of the musicians they met on their ongoing journey. The albums kicks off with "Wagabunga Dance", a collaboration with Stoyan Royanov from Bulgaria. The multi-instrumental talent is a member of the Mo'Horizons Soundsystem. "Rhythm Is A Dancer" was recorded in Columbia with local musicians and you may have guessed it by now, it is Mo'Horizons' interpretation of the Eurodance classic by Snap!, adding even more rhythm, fire, and emotion to turn it into a Cumbia burner. Mo'Horizons move on with "Mo Space" and "Hang Loose", recorded together with hangdrum virtuoso Patrik from the Czech Republic. The first single "You Gotta Know It" is one these Mo'Horizons sure shots, an irresistibly driving rhythm with a catchy chorus sung by Noam Bar from Israel. Which brings in Mr. Morski from Bulgaria, another global mover. "Little Mouse" is his kind of theme tune, recorded with a lot of charm and even more fun. "La Vida Es Solo Hoy" adds Ivan Camelo from Columbia to the impressive line-up. He played with Mo'Horizons for the first time in 2017 rocking the Gran Baba, the Horizons' favorite Chiringuito hang-out in Spain, with his unique vocal stylings. "Ella Dice" takes Music Sun Love back home, re-uniting the team with Nené Vasquez from Venezuela who adds a vibrant live feeling to the track. The list of international guests is endless. "Gypsy Ghetto Feel" gets a groovy boost by percussionist Elvis Aljus, aka Gypsy Brown, who is an integral member of Australian funk favorites The Bamboos' rhythm section and often joins Mo'Horizons when they tour down under. Noam Bar returns for the vocal part, adding a cross cultural soul feeling to this Israeli-Australian groove venture. "Inner Melody" closes Music Sun Love in style. It is an unreleased Mo'Horizons remix of the reggae original by Greek DJ colleague Palov turned into a very '60s sounding club track. Also features Connección Bogotá and Tricky Pantrick.
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AR 123LP
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LP version. The Hoodna Orchestra is a 12-member orchestra who studies and investigates the African origins of western popular music; Ofel is their second album. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label. Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian, Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel. Personnel: Elad Gelert - baritone saxophone; Rom Shani - alto saxophone; Eylon Tushiner - tenor saxophone; Uri Selinger - trombone; Asaf Oseasohn - trumpet; Sefi Zisling - trumpet; Arthur Krasnobaev - trumpet; Tomer Zuk - keyboards; Amir Sadot - bass guitar; Ilan Smilan - electric guitar; Matan Asayag - drums; Rani Birenbaum - percussion; Shahar Ber - percussion; Raz Eytan - percussion.
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AR 105CD
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Mattimatti is two Mattis living in different countries -- Sweden (Malmö) and Germany (Berlin). They travel around the world playing music whilst asking themselves, "who are we?". The answer seems to change just as their surroundings do, but the music stays with them and so does their friendship. It is cliché that it's hard to put a label on music; to say it has almost become a cliché itself. But the whole meaning of music is to listen to it and create one's own world. To create one's own world one needs space, space that is not interrupted by either style or defining categories. Mattimatti is an attempt to step into that space, creating music built solely on improvisation. Tomrum is an invitation to places not yet known, where rhythmic, suggestive and meditative soundscapes meet the present moment. As friends and musicians Mattimatti welcome the unexpected, living in a world full of confusion when it comes to identity. They are trying to stay connected; it is a constant task. They met on the streets of Berlin in spring 2013 while playing on the streets. After they played for the first time together, there was no question that they could travel a musical journey together from that day. Mattimatti was initiated; on their quest they began playing improvised tunes on sitar and hanging on the street while traveling through Sweden and Germany. This lead them to be invited to numerous festivals all over Europe while constantly developing their music and sound. Since then their set has added new instruments such as a drum kit, African harps, sitar, guitar, harmonica, clarinet, and vocals, extending the sound with a space echo. The long, intimate tunes that created here have an original structure and sound. There is a certain present resting in the music which is hard to describe but easy to experience. Their live concerts have been dubbed mythical, hypnotic, magic and epic -- traveling is the biggest influence on their music. Mattimatti are now both based in Berlin and Malmo and work together with the contemporary circus, dance, and music group Kollektiv Knaster.
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AR 105LP
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LP version. Mattimatti is two Mattis living in different countries -- Sweden (Malmö) and Germany (Berlin). They travel around the world playing music whilst asking themselves, "who are we?". The answer seems to change just as their surroundings do, but the music stays with them and so does their friendship. It is cliché that it's hard to put a label on music; to say it has almost become a cliché itself. But the whole meaning of music is to listen to it and create one's own world. To create one's own world one needs space, space that is not interrupted by either style or defining categories. Mattimatti is an attempt to step into that space, creating music built solely on improvisation. Tomrum is an invitation to places not yet known, where rhythmic, suggestive and meditative soundscapes meet the present moment. As friends and musicians Mattimatti welcome the unexpected, living in a world full of confusion when it comes to identity. They are trying to stay connected; it is a constant task. They met on the streets of Berlin in spring 2013 while playing on the streets. After they played for the first time together, there was no question that they could travel a musical journey together from that day. Mattimatti was initiated; on their quest they began playing improvised tunes on sitar and hanging on the street while traveling through Sweden and Germany. This lead them to be invited to numerous festivals all over Europe while constantly developing their music and sound. Since then their set has added new instruments such as a drum kit, African harps, sitar, guitar, harmonica, clarinet, and vocals, extending the sound with a space echo. The long, intimate tunes that created here have an original structure and sound. There is a certain present resting in the music which is hard to describe but easy to experience. Their live concerts have been dubbed mythical, hypnotic, magic and epic -- traveling is the biggest influence on their music. Mattimatti are now both based in Berlin and Malmo and work together with the contemporary circus, dance, and music group Kollektiv Knaster.
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AR 125CD
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Brazil, Portugal, and Cape Verde resound in the beguiling songs of this acoustic trio. Latin American and African tinged rhythms, connected by the Portuguese language. La Dôtu Lado is the second album of the transatlantic project Coladera, presenting the various styles of lusophone music. Led by Brazilian guitarist Vitor Santana and João Pires, his Portuguese counterpart, who also sings and plays guitar. The album brought together a number of collaborations that included José Eduardo Agualusa, Aline Frazão, Dino Santiago, Bilan, Ana Sofia Paiva, Edu Mundo, Brisa Marques, and Marcos Suzano: three musical universes that honor the lusophone rhythms. Brazil, Portugal, and Cape Verde merge into a dialogue of guitars, percussions, and voices, bringing together the rhythms of samba and the northeast region of Brazil, the funaná, the morna, the coladera and the batuque of Cape Verde, the Portuguese fado or the Angolan lundum. Coladera was named after the rhythm born of the Morna, the traditional Cape Verdean music, which in turn is derived from Portuguese fado and Angolan lundum. This unique musical universe is interpreted in a raw, beguiling way by Coladera.
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AR 125LP
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LP version. Brazil, Portugal, and Cape Verde resound in the beguiling songs of this acoustic trio. Latin American and African tinged rhythms, connected by the Portuguese language. La Dôtu Lado is the second album of the transatlantic project Coladera, presenting the various styles of lusophone music. Led by Brazilian guitarist Vitor Santana and João Pires, his Portuguese counterpart, who also sings and plays guitar. The album brought together a number of collaborations that included José Eduardo Agualusa, Aline Frazão, Dino Santiago, Bilan, Ana Sofia Paiva, Edu Mundo, Brisa Marques, and Marcos Suzano: three musical universes that honor the lusophone rhythms. Brazil, Portugal, and Cape Verde merge into a dialogue of guitars, percussions, and voices, bringing together the rhythms of samba and the northeast region of Brazil, the funaná, the morna, the coladera and the batuque of Cape Verde, the Portuguese fado or the Angolan lundum. Coladera was named after the rhythm born of the Morna, the traditional Cape Verdean music, which in turn is derived from Portuguese fado and Angolan lundum. This unique musical universe is interpreted in a raw, beguiling way by Coladera.
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AR 113LP
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Double LP version. Gatefold sleeve. "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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AR 113CD
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"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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AR 115CD
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Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing Liquid Love (2017), a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your Magic Polaroid as proof that this wasn't an impossible project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an Afro-funk quintet or merely described as a lively tribute to the artists which have influenced them; their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances. No one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic space-age yet to come, with a few key words serving as mantras (focus, patience, tears, and creation). This is an invitation to drive off the information superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.
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