Jazz / Soul / Funk

Ayanda Sikade on Drums Nduduzo Makhathini on Piano Simon Manana on Alto Sax Nhlanhla Radebe on Bass Produced by Ayanda Sikade Recorded by Peter Auret at Sumo Sound Mixed and Mastered by Gavan Eckhart at Soul Fire Studios Artwork: Michael MacGarry Cover photo: Vuyo Giba

Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers—singers Thomas Gatling, George Marage, and Dennis Bailey—released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz.

The song that marked the return of Joe Bataan in 2004 finally makes it into a 7” single for the first time. Recorded at the Daptone studio this is a dancefloor favourite by the King of Latin Soul!

Limited Clear Vinyl edition, 500 copies! Recorded in NYC in 1958 and originally released in 1959 as "The Cecil Taylor Quintet - Hard Driving Jazz" this is in fact the only existing document of the meeting between John Coltrane and Cecil Taylor. Even if caught at an early stage in their career the two masters show great personality and deep respect for each other while trumpeter Kenny Dorham sticks more to his familiar bop idiom. Cordially backed up by Chuck Israel on bass and Louis Hayes, Coltrane swings madly on Taylor's dissonant comping producing a rare, fascinating friction between two worlds. A must for every Coltrane maniac out there.

ジョン・コルトレーンの妻でありデトロイト生まれの偉才、アリス・コルトレーンが、その結婚前、”Alice McLeod”と名乗っていた頃に、Terry Gibbsのカルテットで録音した3枚のアルバムのうち3枚目のアルバムである『El Nutto』の待望のアナログ再発盤！

Don Cherry (1936-1995), one of the true giants in the history of spiritual jazz, released his masterpiece on the hallowed Blue Note label in 1969. This is the last of the three albums he released from Blue Note. This is the last of the three albums released from Blue Note. From the very beginning, the band rushed forward with tremendous energy and tremendous toughness. Recorded on November 11, 1966, with sleeve notes by Ornette Coleman. Limited to 300 copies on clear vinyl.

In process of stocking* This release presents one of John Coltrane's last preserved live performances ever. Taped in Philadelphia with excellent sound quality, this set presents Coltrane playing probably the freest version of Naima, along with readings of two more of his compositions: Crescent and a powerful version of Leo. Coltrane died shortly after this performance at the age of 40 on July 11, 1967.

Limited Clear Vinyl edition, 300 copies! Joao Gilberto's self titled third album, is the fruit of the collaboration between Gilberto and the great composer and arranger Antonio Carlos Jobim and Walter Wanderley and his ensemble. This is one of the greatest pieces of work in the field of Brazilian music. Gilberto's delicate singing moves on top of extremely subtle, elegant orchestral arrangements of various songs from the classic repertoire, "Samba da Minha Terra" and "Saudade da Bahia" (Dorival Caymmi), "O Barquinho" (Roberto Menescal / Ronaldo Bôscoli) without forgetting essential numbers by Carlos Lyra, Vinicius de Moraes and Tom Jobim. A timeless masterpiece, period!

A new title in the series of full-album reissues that Vampisoul is releasing (co-produced in collaboration with Little Butterfly Records) as a valuable addition to our largely acclaimed compilation “América Invertida”, focusing on the obscure leftfield pop and experimental folk scene from ‘80s Uruguay, making some of these elusive and essential albums available again. Only album (1983) released by this all-female trio, Travesía, an essential asset of the effervescent scene of experimental Uruguayan artists who at the time mixed folklore, the avant-garde and pop under the influence of bossa nova and tropicalia. The minimalist instrumentation highlighted the trio's complex and ethereal vocal arrangements resulting in a beautiful album, released almost forty years ago but that could have been made yesterday. Perfect listening for fans of the ethereal pop by artists like Antena or Les Disques Du Crépuscule’s sound and lovers of vocal harmonies in the tradition of bands like Free Design. Travesía’s members Mariana Ingold and Estela Magnone would later release outstanding solo albums that have also become very much in-demand in recent times. "Ni Un Minuto Más de Dolor" is reissued here on vinyl for the first time, in its original artwork (plus OBI) and including an insert with liner notes by the Uruguayan music journalist Andrés Torrón.

One of the ‘holy grails’ of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru and sounds like a long lost record by Cachao and Tito Puente if they led an orchestra with Charlie Palmieri on piano and Tito Rodríguez on vocals. Always an extremely rare collector’s item, Gozando!! will now be able to reach a wider vinyl-loving audience with this first-time ever faithfully reproduced reissue.

Don Cherry, who pioneered free jazz as Ornette Coleman's right-hand man and has been noted for his collaborations with Coltrane, has moved to Sweden with his partner Moki and daughter Nene. Don Cherry, who was a pioneer of free jazz as Ornette Coleman's right-hand man and also attracted attention for his collaborations with Coltrane, gathered local musicians when he moved to Sweden with his partner Moki and daughter Nene, and held weekly meetings at the ABF (Workers' Educational Association). From February to April 1968, Don Cherry, who has been attracting a lot of attention, held weekly workshops at the ABF (Workers' Educational Association). From February to April 1968, Cherry was giving lessons in this workshop as an extension of improvisation. Göran Freese, the saxophonist and recording engineer who later recorded Organic Music Society and Eternal Now, invited Cherry and the Turkish drummer to his summer house for a series of rehearsals and jam sessions to practice the aforementioned workshop. However, this lost tape, which has long been treated as a mysterious footnote in Don Cherry's session records, has been discovered in the vaults of the Swedish Jazz Archive and is now being published. With additional bonus material from other records recorded on the same day, this is a must-have for fans!

Don Cherry, who pioneered free jazz as Ornette Coleman's right-hand man and has been noted for his collaborations with Coltrane, has moved to Sweden with his partner Moki and daughter Nene. Don Cherry, who was a pioneer of free jazz as Ornette Coleman's right-hand man and also attracted attention for his collaborations with Coltrane, gathered local musicians when he moved to Sweden with his partner Moki and daughter Nene, and held weekly meetings at the ABF (Workers' Educational Association). From February to April 1968, Don Cherry, who has been attracting a lot of attention, held weekly workshops at the ABF (Workers' Educational Association). From February to April 1968, Cherry was giving lessons in this workshop as an extension of improvisation. Göran Freese, the saxophonist and recording engineer who later recorded Organic Music Society and Eternal Now, invited Cherry and the Turkish drummer to his summer house for a series of rehearsals and jam sessions to practice the aforementioned workshop. However, this lost tape, which has long been treated as a mysterious footnote in Don Cherry's session records, has been discovered in the vaults of the Swedish Jazz Archive and is now being published. With additional bonus material from other records recorded on the same day, this is a must-have for fans!

Good music never goes out of style. This could be the sum of the whole that can be said about Party Down by Little Beaver, but that would be a huge understatement. His third long-player warrants (re)discovery for funk and soul enthusiasts around the world, regardless of age or gender! After a move to Florida from his hometown of Forrest City in Arkansas, the illustrious career of Willie George Hale’s (b. August 15, 1945) took off in the 1960’s. This is when his characteristic style of guitar playing was noticed and appreciated by songwriter and producer Willie Clarke, a resident of Cat Records, a subsidiary of TK Records. Hale was featured on many of the label’s hits, such as ‘Clean Up Woman’, written and produced by Clarke and Clarence ‘Blowfly’ Reid for R&B and soul legend Betty Wright. It soon became apparent that Hale was more than a session musician and deserved to be seen as a recording artist in his own right. A string of successful singles in the late 60’s and early 70’s culminated in the release of his 1972 debut LP Joey, using his childhood nickname Little Beaver – originating from his prominent teeth. Black Rhapsody saw the light of day in 1974. As opposed to the record preceding it, there was little or no involvement of his regular collaborator Willie Clarke. However, they reunited for Party Down, which also features contributions by Betty Wright and jazz fusion bass legend Jaco Pastorius! Its two part title track serves as an introduction to an aural night on the town or a get together in one’s own living room. ‘Money Vibrations’ details about the pro’s and cons of currency, whilst ‘Get Into the Party Life’ inspires optimism to the lonely and the heartbroken. The rest of the album also deals with happiness and love in the unique style that Little Beaver is renowned for. Though largely forgotten today, many of its tracks were covered and sampled by a variety of famous artists such as Erykah Badu, Blowfly and Jay-Z! Hale would return with two more records, When Was the Last Time (1976) and Beaver Fever (1980), the latter under the moniker of Willie ‘Beaver’ Hale. Following this, TK Records went bankrupt and Little Beaver faded into the shadows, only to re-emerge in 2008 with Love & Affection. ReGrooved is proud to present a glorious reissue for a record that continues to get your groove on, even after forty-odd years!

An early Amp Fiddler production, Spaced Outta Place was originally released in 1980 on Parkside Records. Remastered and repressed to mirror the original 7-inch release.

Originally released in 1972 in very limited numbers. A trip of an album rich in percussive energy and African chant - made in Brazil! The sounds of continents colliding in a young, funky & soul fuelled 70s ....this is one is on full burn from start to finish ! This the only album by Massáhi Tribe and it became notorious for it’s unique sound and the almost complete lack of information about its creators. Check!

the Label say:

'This is a sound made in Brazil. All the members are Brazilians.
But the goal is to show the young african music, with all his distinctions that features the origin of the black continent’s music.

In this record we launch several curious things. Starting from a rhythmic draw, based on the camel steps that match the division 4/4, on the same line of YÁ YÁ YÁ and SOUL MUSIC, which was given the name of OGA, this, because in Lagos, Nigeria’s capital, is an intimate treatment among friends. There, a man feels good when compared to a OGA (camel).
Purposely and proudly we launch this new and different LP, not only dedicated to all record collectors in the world but also to all party lovers, nights in club, and even for who’s loving, because on both sides, there aren't intervals. It’s a contagious and crazy rhythm."

This is how, in 1971, Embaixador and Maestro João Negrão described the record on his back cover. These words did not aged a bit.

We are very happy and proud to announce, 44 years later, the first 100% official reissue of this genuine work that became legendary and considered as the "Holy Grail" of Brazilian music among collectors around the world.'

Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s. 

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song. 

Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new. 

Six Black Hole jazz dubs by Cosmic Threat come together in one truly epic album straight from the astral echo chamber. Jammed over various sessions in an empty Leipzig club during lockdown, Kiki Hitomi, disrupt and bass clarinet black belt Volker Hemken (from Gewandhausorchester Leipzig) are keeping the track structures in constant warp mode, psychically locking in with the machines and freely exploring all the sonic territory inbetween Sun Ra and Prince Jammy. This highly hypnotic spiritual sequel to Kiki Hitomi’s 'Karma No Kusari' (2016) comes on red vinyl and with hand-painted artwork by Ellen G.

It’s a special, but also a strange sensation to be releasing an album of one of your early musical heroes. I first discovered The Movers on my very first “record safari” in 1996. My destination was Bulawayo, in southern Zimbabwe, and to get there I had to travel via Jo’burg. While in town I stopped at a store called Kohinoor, in search of Mbaqanga – also known as Township Jive – and found a few tapes which I listened to non-stop on the bus that carried me to the land of Chimurenga Music. One of these cassettes included the songs “Hot Coffee” and “Phukeng Special” which instantly became part of my daily life. Twenty-five years later I’m still grooving to them. What I didn't know at that time was that The Movers were hugely successful during the 1970s; so when it came time to release some of their music, I though it was going to be “a walk in the park” to track down information about them and write their biography. I was in for a rude awakening. Despite their legendary status, there was almost no information available on band or any of its members. Fortunately Nicky Blumenfeld from Kaya Radio came to the rescue. A few days after I reached out to her, she had managed to get the phone number of Kenneth Siphayi, who is considered to be the founder of the band, as well as vocalist Blondie Makhene and saxophonist Lulu Masilela. Although we left no stone unturned, we were unable to find any of the four original members who seem to have passed away in total anonymity. The story of The Movers began in 1967 when two unknown musicians – the brothers Norman and Oupa Hlongwane – approached Kenneth Siphayi a stylish and wealthy businessman from the Alexandra township to ask if he could buy them musical instruments. In return he would receive a cut from future life shows and record deals. Kenneth, ended up doing much more, becoming their manager, setting them up in a rehearsal space, and introducing them to an organist who would prove to be the missing link in the band’s skeletal sound. He also gave them their name: The Movers … because, as he said, their music was going to move you, whether you liked it or not. The band exploded onto the country’s racially-segregated music scene at the dawn of the 1970s with a sound that applied the rolling organ grooves and elastic rhythms of American soul to songs that came straight from the heart of the townships. Rumours of the band started to spread throughout the country and soon the record labels were sending their talent scouts to the Alexandra township to hear it for themselves. The Movers finally signed to Teal Records in 1969, and their first album, Crying Guitar, went on to sell 500,000 copies within the first three months, launching them into the front rank of South African bands. In their first year they went from local sensations to being the first band of black South Africans to have their music cross over to the country’s white radio stations. Although the first record was entirely instrumental, The Movers started working with different singers soon after – scoring an early hit with 14 year old vocal prodigy Blondie Makhene – and enriched their sonic palette with horns, extra percussion and various keyboards. Their stylistic range also expanded, incorporating elements of Marabi, Mbaqanga, jazz, funk, and reggae into their soul-steeped sound. But the essence of their music came from the almost telepathic connection of its founding members: the simmering organ of Sankie Chounyane, the laid-back guitar lines of Oupa Hlongwane, the energetic bass grooves of Norman Hlongwane and the simmering rhythms of drummer of Sam Thabo. The band reached their apex in the mid-1970s, and their hit ‘Soweto Inn’, sung by Sophie Thapedi, became inseparable from the student revolts that signalled a new resistance to the apartheid government. In 1976, however, their manager was forced out, and their producer started to play a more active role in the band’s direction. By the end of the decade there were no original members left. But at their height The Movers were titans of South African soul who left a legacy of over a dozen albums and countless singles of pure groove. On The Movers 1970–76, Analog Africa presents 14 of the finest tracks from the band’s undisputed peak.

ロンドンを拠点に、カリブ地域や西アフリカを含めた世界各地のディスコやファンク、ソウルを発掘する〈Kalita Records〉からは、西アフリカの伝統的な旋律なメロディーをシンセサイザー、ディスコ、ブギーとクロスオーバーさせ、1980年代以降にガーナで人気を博した「バーガー・ハイライフ」現象にフォーカスした初のコンピレーション・アルバム『Borga Revolution! Ghanaian Dance Music In The Digital Age, 1983-1992 (Volume 1)』が登場！

1970年代、ガーナでは欧米の音楽が盛んに放送され、ファンク、ソウル、ディスコなどのサウンドが紹介されていた一方で、ガーナは経済的な混乱にも見舞われ、貧困の増大、軍事独裁政権、長期の外出禁止令など、アーティストが生き残っていくには困難な状況にありました。そんな中で広い視野を持った多くのガーナ人アーティストが、欧米でキャリアを積むようになり、スターダムを求めて欧米へと渡ることに。ここで、西洋な現代的な音楽スタイルと、DX7シンセサイザーや様々なドラムマシンなどの新規なテクノロジーを導入したデジタル版ハイライフ・ミュージックを開発。ガーナのダンス・ミュージックの進化と「バーガー・ハイライフ」の出現は、このような背景の中で生まれたとのこと。

本作『Borga Revolution!』には、Thomas FrempongやGeorge Darkoなどのジャンルを代表するアーティストから、AbanやUncle Joe's Afri-Beatなどの無名のバンドによるトラックまで、重要な録音を収録した意欲的な一枚！ゲートフォールド・スリーヴ仕様。各アーティストによるインタビューを元にしたライナーノーツと豪華未発表写真を掲載した16ページに及ぶブックレットが付属しています。

Feedback Moves returns with a vinyl reissue of Pat Thomas’ New Jazz Jungle: Remembering. The album was originally released on CD in 1997, at a time when Pat had already spent years playing on the free improvisation circuit with the likes of Lol Coxhill and Derek Bailey. Thomas is largely known as a jazz and improvising pianist, but can be heard using electronics as far back as 1989 on an electro acoustic work called Monads and on the Bailey-led Company ’91 recordings. Thomas identified jungle’s weirdness and intensity and saw a space open for his own interpretation, on New Jazz Jungle: Remembering he utilises his classical training and knowledge of the tonal systems used by 20th century composer’s Schoenberg and Webern, and fuses that with his earlier experiences using electronics, keyboards & sampling techniques. What we end up with is 10 tracks of bass heavy jungle breaks, which are intersected with vocal and orchestral samples, and layers of percussion rotating at varying time signatures. It’s in this fashion that the album seems to present itself: in layers. Layers of samples, keyboards and FX, deployed at varying speeds, never losing their intensity. The re-issue of this lost classic comes at a time when Thomas continues to go from strength to strength, having recently released various solo and collaborative works with a wide range of musicians and projects such as Matana Roberts, Elaine Mitchener, حمد [Ahmed], Black Top, XT and many more. 2 x 12" vinyl w/ liner notes and interview by Edward George (The Strangeness of Dub, Black Audio Film Collective). Edition of 500. Mastered by Beau Thomas @ Ten Eight Seven.

johnny’s disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as “farewell my johnny / left alone” and “aya’s samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

another japanese jazz classic, aya’s samba was a debut effort by bassist eiji nakayama, who played as part of elvin jones’ jazz machine and toured with don friedman.

this album is an important release in the johnny’s disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be.

“aya’s samba” is a mellow jazz samba in minor key that’s considered a japanese jazz classic. slow ballad “yellow living” is drenched in melancholy with emotive keys and sax notes, while the dreamy “sea sea town” impresses with a captivating, expressive sax solo. the 4 tracker ends with “far-away road,” an uptempo tune with rhythmic keys.

‘América Invertida’ is a fascinating survey of Uruguay’s lesser-covered ‘80s endeavours in new wave pop, jazz-fusion, ambient folk and electronics, compiled by Spanish DJ and collector Javi Bayo

So, hands up who knows about music from South America’s 2nd smallest nation? Aye, just like us, Uruguay’s music scene is a bit of mystery to all but an ardent set of diggers who’ve been mining its fine seams of cult records, often produced by the same handful of artists out of the capital city, Montevideo, and pressed in tiny runs at the time. For anyone interested, ‘América Invertida’ rectifies the issue with 11 charmingly sweet examples that patently echo the styles of Uruguay’s bigger neighbours, Brazil and Argentina, but with their own sense of breezy flair that’s neatly distilled in this compilation.

To play favourites, we’re instantly struck by the shimmering FM synth blush and suave bossa-fusion shuffle of ‘Y El Tiempo Pasa’ and ‘Kabumba’ by Hugo Jasa, while the likes of Contraviento and Travesia supply seductive bits of bucolic, pastoral psych folk and we can almost primacy you won’t be shifting the ohrwurms of Eduardo Mateo’s burbling Candombe rhythms in ‘El Chi-Li-Ban-Dan’ any time soon once bitten.

Studio recordings from 1988 are officially released after 34 years of absence.

The tape recorded by Yuji Takahashi (synthesizer, sampler) and Masahiko Togashi (percussion) in a studio on November 23, 1988 was found for the first time in 34 years and is now officially released as a CD album. This album is the culmination of the Takahashi/Togashi duo, which began in the spring of 1988 at the Shinjuku Pit Inn, and is an improvisational performance in which Togashi responds to Takahashi's leads without a score. Each member's different musicality is inspired by the other's, and the music is built up in dialogue. The electronic sounds of Takahashi's early samplers and digital synths, the calculated acoustic percussion of Togashi, and the lush interplay make this sound journey a rare and precious work.

34-song SUPERSTORE is the Sam Gendel all genre follow-up album to 2021's 52-song Fresh Bread. SUPERSTORE is more unreleased music from the enigmatic producer/saxophonist collected from personal archives of solo recordings and collaborations in various venues. Contributing players on select tracks include Blake Mills, Gabe Noel, Kevin Yokota, and Philippe Melanson.