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viewing 1 To 7 of 7 items
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LP
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INFINITA 001LP
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Olindo Records launch sister label Música Infinita, with its inaugural release, a reissue of The Message by Gerry Weil -- a forgotten cornerstone of Venezuelan jazz, originally released in 1971 and greatly influenced by Bitches Brew-era Miles, Hendrix, Tower of Power and fusion of jazz and rock. The Message is packed with raw funk grooves, big band horns, and Gerry's gravelly Waitsian vocals. Gerry Weil decided to emulate Miles in 1971, but on Caribbean soil, gathering a dream team of 15 Venezuelan musicians to record an avant-garde album. The album opens with "The Joy Within Yourself", showcasing Gerry's dexterous organ playing within seconds, accompanied by stunning horn arrangements, a bluesy vocal by Weil himself and a killer electric guitar solo by Vinicio Ludovic. Continuing with "The Bull's Problem", the LP settles into a jazz funk groove with a nasty Rhodes and bass combination alongside a heavy drums and congas exchange between Alberto Naranjo and Freddy Roldán. Side A closes with title track "The Message", a sort of funky anthem or mantra that describes Gerry Weil's attitude towards life. On side B, "Johnny's Bag" kicks off proceedings on a spiritual tone. This time Gerry's on acoustic piano, accompanied yet again by a beautiful, but equally powerful horn section featuring a who's who of Venezuelan jazzmen, such as Benjamin Brea (alto), Victor Cuica (tenor), Rodrigo Barboza (trombone), and Luis Arias (trumpet). "What Is A Man" begins with a vocal duo between Vinicio Ludovic and Gerry before settling into a funky groove underpinned by Michael Berti's booming bassline. The album closes with "Little Man", a meditative, yet grooving piece that could easily be found on any of the best Blue Note albums from that same time period. Still active at the age of 81, Gerry is a living legend and a true testament to perseverance through music. Brand new artwork and an extensive interview with Gerry. Remastered by Frank Merritt at The Carvery. Edition of 500.
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12"
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OR 004EP
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12" EP featuring music by London based producer and DJ Koichi Sakai, a well-known head in London music circles thanks to his role in co-founding the legendary Afrobeat Vibration nights alongside Dele Sosimi. In collaboration with Ghanaian percussionist and singer Afla Sackey (Afrik Bawantu), this project sees Koichi mixing African percussion instruments and themes with synths and drum machines. The A Side features the dancefloor workout "Jingo", a fresh take on Babatunde Olatunji's original featuring vocals and percussion by Afla Sackey and guitar by Mao Yamada, with Koichi on synths and drum machine. On the B Side, "Wono", the title track from Koichi's debut LP, gets the remix treatment by Osunlade who takes Afla's lead vocals and a few percussion elements and turns it into a stripped-down, hypnotic dancefloor monster. On the second B Side track, Venezuela producer Pocz, aka Carlos Mayoral, creates a funked-up, Latinized version of the original featuring a brand new bassline and jazzy synths. This EP comes as a lead up to Koichi's first LP, Wono, to be released towards the end of 2019.
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LP
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ORLP 003LP
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Olindo Records present Loé Loá, a landmark album in Afro-Venezuelan music, on vinyl for the first time. Originally released in 2017 on CD and digital formats, Loé Loá gained critical acclaim in North America and Europe from the likes of NPR, The New York Times, and Songlines. Most of the music on the album is in the style of Parranda, a traditional Venezuelan genre that literally translates into party. However, not every song is about joy and celebration as the band often sing about many of the most painful topics of daily life in Venezuela, as prevalent in 2019 as they were in 2017 when originally released: hunger, poverty, and shortages of basic medicine. The entire album was recorded out in the open in Betsayda Machado's home town of El Clavo in Barlovento, a region in the central Caribbean coast of Venezuela known for its cacao plantations and African heritage. It features 17 singers and 12 percussionists compared to the hundred or so that might be part of a real-life celebration. Yet the spirit, one of defiant survival and sheer joy, resounds the moment they strike the drum or sing the first note. Produced by Juan Souki; Recorded by Dario Peñaloza and Javier Aponte.
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LP
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ORLP 002LP
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2018 release. La Candela del Río is the debut album by Paris-based Venezuelan quartet Insólito UniVerso. In the space of eight tracks, the band fuses traditional Venezuelan styles, such as joropo, merengue caraqueño, or tambores de San Millán, with psych, chanson, and contemporary electronics. Co-produced by The Heliocentrics' Malcolm Catto, the record shows two distinct sides; on the one hand there's euphoric music that begs to be danced to, while on the other, there's melancholy, mystery, and devotion.
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CD
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ORCD 001CD
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2018 release. Olindo Records present the second release and first LP on the label, by London-based Afro-Latin jazz quintet Waaju. A project that never stands still, Waaju's members have been busy as part of other ensembles (Caravela, Bahla, Jordan Rakei, and Ashley Henry, to name a few), which means they cherish each time they get to make music together. The five cuts on this album are only a snapshot of what they're doing and continually try to do -- the tip of the iceberg -- but one that speaks volumes about their intentions. Kicking off the album is "Ali's Mali" is an ode to the great Malian guitarist Ali Farka Toure, but seen through a different lens, as he did himself in reinventing West African music. His spirit is transcended into the modern soundscape mixed with dub, electronic music, and echoes of Cuban batá drumming, reminiscent of the two countries' cultural exchanges throughout the 20th Century. "Kaolack" draws from a Senegalese rhythm found in sabar and mbalax music. It's transformed into a gritty, surging groove with heavy touches of psychedelia and smatterings of traditional sounds pulsating from its textures. "Neleh" explores different sides of a love song and has a myriad of influences displaying different characteristics. Tinges of yearning Tuareg music from Northern Mali, sizzling son percussion and delicate chimurenga-fused guitar, together presenting an introverted, drifting piece with twists and turns. "Waaju" is influenced by the samba funk of 1970's Brazil combined with the more widely known Louisiana funk of The Meters, et al. Its irresistible lilting rhythm and infectious energy are brought into a new modern jazz sphere displaying the spontaneity in improvisation of each member. "Maroc" draws from the chaabi music of Morocco and Algeria, which bandleader Ben experienced firsthand whilst in Marrakech. Much less known internationally than Moroccan gnawa music, its heavily syncopated drum rhythm creates a frenzy of energy, which is interpreted here much more slowly and dirtier in character, with dubby bass and dissonant harmonies.
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LP
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ORLP 001LP
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LP version. 2018 release. Olindo Records present the second release and first LP on the label, by London-based Afro-Latin jazz quintet Waaju. A project that never stands still, Waaju's members have been busy as part of other ensembles (Caravela, Bahla, Jordan Rakei, and Ashley Henry, to name a few), which means they cherish each time they get to make music together. The five cuts on this album are only a snapshot of what they're doing and continually try to do -- the tip of the iceberg -- but one that speaks volumes about their intentions. Kicking off the album is "Ali's Mali" is an ode to the great Malian guitarist Ali Farka Toure, but seen through a different lens, as he did himself in reinventing West African music. His spirit is transcended into the modern soundscape mixed with dub, electronic music, and echoes of Cuban batá drumming, reminiscent of the two countries' cultural exchanges throughout the 20th Century. "Kaolack" draws from a Senegalese rhythm found in sabar and mbalax music. It's transformed into a gritty, surging groove with heavy touches of psychedelia and smatterings of traditional sounds pulsating from its textures. "Neleh" explores different sides of a love song and has a myriad of influences displaying different characteristics. Tinges of yearning Tuareg music from Northern Mali, sizzling son percussion and delicate chimurenga-fused guitar, together presenting an introverted, drifting piece with twists and turns. "Waaju" is influenced by the samba funk of 1970's Brazil combined with the more widely known Louisiana funk of The Meters, et al. Its irresistible lilting rhythm and infectious energy are brought into a new modern jazz sphere displaying the spontaneity in improvisation of each member. "Maroc" draws from the chaabi music of Morocco and Algeria, which bandleader Ben experienced firsthand whilst in Marrakech. Much less known internationally than Moroccan gnawa music, its heavily syncopated drum rhythm creates a frenzy of energy, which is interpreted here much more slowly and dirtier in character, with dubby bass and dissonant harmonies.
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7"
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OR 003EP
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Olindo Records present their first release of 2019 and the third their initial Venezuelan trilogy of 45s. Featuring two original compositions by Caracas based multi-instrumentalist and composer Isaac Sasson, with a remix on the flipside by London producer and drummer Hector Plimmer (Albert's Favourites). Side A kicks off with "Paseo En Un Sueño", a short composition that reflects a dream that begins in the village of El Hatillo and ends at dawn in the hills of Caicaguana, its main theme is a beautiful flute melody played by Tomasito Garcia. As the instruments and vocals fade away, "Canción Para Mi Familia, Venezuela" begins, with Isaac singing "esta melodia es especial para mi mamá, dedicada a mis abuelos, a mis hermanos y a mi papa". This song is a sort of mantra or prayer dedicated to Venezuela and Isaac's family and friends; its spiraling guitar riff and various percussion instruments quickly descending towards a chaotic state of bliss. Hector Plimmer's remix on the B side reassembles elements from another Sasson original, "Cantos Campesinos", focusing on a particular vocal motif. Hector retunes the rhythm to his purposes, building tension and borrowing a bell sound to raise it even further, before releasing a skittering drum pattern with plenty of swing and a heavy dose of low end. Before the song ends, Hector goes deeper, adding sensual synth chords and finally a flute-like synth solo to complete this musical trip that is surely destined to soundtrack a few hazy evenings this summer. The music on this EP has been previously self-released by Isaac on his album Memorias del canto campesino, but appears here for the first time on vinyl. Edition of 300.
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