MUSIC

Written and produced by

Manfredas Bajelis

and

Marijus Aleksa

from Lithuania.

Driving Vladimir Tarasov influensedpercussionist jazzfunk.

On the occasion of RT 30 (the celebrations of Right Tempo's thirty years of activity) the Italian record company has decided, among other things, to publish a new volume of this successful series. The Easy Tempo series, born in 1996, aimed to disseminate a sound linked to black culture (in its broadest meaning and most varied forms) with contaminations ranging from psychedelia to vintage electronics through soul, funk and jazz. Having drawn from the world of soundtracks did not arise from a specific passion in this area, but from the simple fact that that universe offered a vast repertoire, however submerged, of music suitable for the 'groove' vocation of Right Tempo, as well as a distinctive sign of national identity, considering the caliber of the composers and musicians involved in writing and performing the music featured in the different tracking lists of the series. To this respect, starting from Volume 11 that you are holding in your hand, Easy Tempo will expand its editorial horizons, including tracks taken from obscure, underrated and/or hard to find records that transcend the congested world of soundtracks. It should also be emphasized that, given the label international vocation, the repertoire from which we will draw will no longer be limited to Italian record production, but will have a global perspective. The sound journey you are about to embark on is steeped in soul, funk, jazz, Latin, psychedelia, with a pinch of electronics at times. Travelling flutes, tight and driving rhythm patterns and rich and colorful arrangements perfectly indicate Easy Tempo series new direction. The most intriguing and ubiquitous aspect is particularly incisive thanks to the "cinematic" cut given to the selection. We believe, upon a first check of the musical content, that this new chapter will meet the expectations of all those who have enjoyed the ten previous volumes of this collection of sounds and emotions over time. Enjoy Easy Tempo Volume 11. Features Roberto Pregadio, Soul's Soul, Orchestra Mustang, Genius, Gianni Marchetti, I Raffazzonati, Brooklyn Bridge Group, Hugh Bullen, Carlo Cordara e i Waterloo, Les Chakachas, Le Streghe, Ninety, Lara Saint Paul, Ivano Fossati, Sandro Brugnolini, Gianni Basso Quartet, Enzo Scoppa, Gino Marinacci, and The Gypsy-Gershwin Medley.

KNOWER FOREVER credits

(1.) Knower Forever (Louis Cole)
*All strings
*All Brass
Extra synth: Louis Cole

(2.) I’m The President (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard / Piano
*All Brass
*All Flutes
*All Choir
*All strings

(3.) The Abyss (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Sam Gendel: Saxophone

(4.) Real Nice Moment (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Paul Cornish: Keyboard / Piano
Sam Gendel: Saxophone
*All Choir

(5.) It’s All Nothing Until It’s Everything (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard / Piano
*All Strings
*All Horns

(6.) Nightmare (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard

(7.) Same Smile, Different Face (Louis Cole)
Genevieve Artadi: Vox
Louis Cole: Piano
*All Strings

(8.) Do Hot Girls Like Chords? (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
Adam Ratner: Guitar

(9.) Ride That Dolphin (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
*All Choir

(10.) It Will Get Real (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone

(11.) Crash The Car (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Piano
Adam Ratner: Guitar
David Binney: Saxophone
*All Brass
*All Choir
*All strings

(12.) Bonus Track (Louis Cole)
Genevieve Artadi: Tambourine Robot Holder
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone
Tambourine Robot built by Louis Cole and Daniel Sunshine


*Strings:
Leah Zeger (vln)
Lily Honigberg (vln)
Megan Shung (vln)
Yu-Ting Wu (vln)
Chrysanthe Tan (vln)
Sabrina Parry (vln)
Nora Germain (vln)
Tylana Renga (vln)
Tom Lea (vla)
Ethan Moffitt (vla)
Daniel Jacobs (vla)
Lauren Baba (vla)
Isaiah Gage (clo)
Chris Votek (clo)
Niall Ferguson (clo)
Emily Elkin (clo)
Karl McComas-Reichl (bs)
Logan Kane (bs)

*Brass:
Robert Murray (tuba)
Corbin Jones (sousaphone)
Kyle Richter (sousaphone)
Jon Hatamiya (tbn)
Vikram Devasthali (tbn)
Mariel Austin (tbn)
Nick Platoff (bass tbn)
Aidan Lombard (tp)
Aaron Janik (tp)
Andris Mattson (tp)
Chris Clarkson (tp)

*Flutes:
Rob Sheppard
Amber Navran
Henry Solomon

*Choir:
Kathryn Shuman
Mikaela Elson
Dyasono
Micaela Tobin
Jessica Freedman
Rayah Clarkson
Alexandra Domingo
Sharon Kim
Linnea Sablosky
Katharine Eames
Glynis Davies
Michael Kohl
Jeff Eames
VJ Rosales
Brett McDermid
Luc Kleiner
Sean Fitzpatrick


All production by: Louis Cole
All songs mixed and mastered by: Louis Cole
Audio Engineer: Daniel Sunshine
Cameras: Daniel Sunshine, Richard Thompson, Chiquita Magic, Max Zemanovic
Special thanks for Alliz Espi at Songololo Music, and publishers Because Music

The ethereal melody fluttering in the strong groove. This is the quintessential and culmination of new hard music that pursues the possibilities of the big band sound.

Since the release of "Perspective" in 1969, New Hard, led by Toshiyuki Miyama, one of Japan's leading big band musicians, has been exploring new horizons in big band jazz with its cutting-edge sound. This work "Niou to Hato" is one of the representative works of New Hard released in 1972. Kozaburo Yamaki wrote and arranged all of the music, and deeply pursued one of his long-standing themes, "Japan. The elaborate and multi-layered arrangements and performances express Japanese customs, traditions, and scenes. The melodies are profound and dynamic, with an ethereal Japanese sentiment. The songs are full of deep flavor and great stimulation, led by the strong groove of "Seijinshiki" (Coming of Age Ceremony). This is the true essence of new hard music at its best.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Released in 1980, ‘Mysteries Of The World’ was the final studio album from MFSB (standing for ‘Mother, Father, Sister, Brother’), the highly influential soul ensemble of around thirty session musicians and whose ‘TSOP’ single was influential in forging disco. The project ended with a bang, with producer Dexter Wansel helping the group achieve a dazzling blend of Philly soul, jazz-funk and orchestral flourishes.

Miša Blam’s - Sećanja (Memories), one of the most sought of, rarest and cult ex-Yugoslavian jazz LP’s - is finally reissued, sourced and fully licensed straight from vaults of Jugodisk (Belgrade, Serbia). And where better than on the Everland’s Everland-Yu imprint dedicated to the unheard sound of Yugoslavia! This LP, kept tight in private ex-Yu collectors cabinets and championed by jazz dance DJ’s across the planet, was recorded in 1979 and released in only 1000 copies in 1980 by the Beograd Disk label. The LP is filled with jazz-funk, bop styles, latin jazz and even Gospel live recordings by the Golden gate quartet (recorded by Miša himself) all accompanied by the crème de la crème of Yugoslavia’s jazz-funk instrumentalists at the time (Jelenko Milaković, Lazar Tošić, Stjepko Gut, Jovan Maljoković, Josip boček…). Miša Blam (1947 - 2014) was an influential Serbian jazz composer, arranger, publicist, festival organizer and Radio-Television Belgrade’s long-time collaborator (jazz and folk orchestras, recording engineer, music director…). But Miša was first and foremost a bass player! Having played with numerous worldwide famous jazz cats he often talked of his work in the Chet Baker - Sal Nistico trio while living in New York and playing with them for two years (or rather bailing Sal out of prison or buying off Chet’s trumpet on his behalf from the pawn shop). The album perhaps represents an unusual collection of songs mostly composed by Miša Blam himself during his world wide spanning jazz pursuits in the 70’s. Unusual for it does not stand alone as a cohesive album release but as a collection of works that we were lucky to be rewarded with in his very sparse discography consisting of: one EP, this LP and one cassette tape… Finally this collection showcases what was Miša all about – and that was jazz bass in all its marvelous forms – from lacing dreamy ballads with his impeccable upright bass fiddle play to grooving on his fender bass on the jazz-funk monster Sećanje which could be included on any acid jazz compilation of the 90s (check out Balkan Express...). Masterfully executed and kept to its original sound this release will keep your ears busy and open to the sound of ex Yugoslavian jazz and the sound of unheard Yugoslavia – where-else but on Everland-Yu! Dr. Smeđi Šećer, 2021

A decade of Non-Aligned beats, soul, disco and jazz 1969-1979. - First ever beats, breaks and rare grooves compilation from ex Yugoslavia - Eastern European diggers delight - Remastered straight from the vaults of Jugoton - Raw funk, psych, prog rock, orchestral disco, big band jazz funk and more... Yugoslavia - six republics, four decades, one dictator and a single record label that ruled them all: Jugoton (Zagreb, Croatia). Jugoton was by far the country's largest label with the strongest and most diverse output that stretched from Balkan roots to contemporary trends and the sound of tomorrow . The early days of Yugoslavia featured strong censorship but by the end of the 60's the Communist party views softened up by a large degree. Westernized music already had a solid presence and first James Brown influenced compositions were released. Yugo funk, a term coined by DJ’s and crate diggers from the Balkans, encompasses a wide variety of performers and genres: from the 60's merseybeat rock bands, prog rock groovers and big band jazz orchestras to the late 70's sophisticated 4x4 funk and essentially everything in between. Jugoton Funk Vol.1, a first of its kind, celebrates the pioneer years of funk infused music released by Jugoton. While in pursuit of these treasures all over the Balkan region and beyond, the compilation’s selectors, Dr. Smeđi Šećer & Višeslav Laboš, both active as DJ's and crate diggers from the sole beginnings of the ex-Yu craze, wanted to capture the authentic and idiosyncratic funk sound of Jugoton and Yugoslavia. So here it is, comb your moustache, light up a fat one, turn up the amplifier and headbang away to these amazing tunes remastered from original master tapes dug out of the Jugoton vaults (now Croatia Records). - Compiled by Dr. Smeđi Šećer & Višeslav Laboš.

The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.

Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.

Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.

Freestyle Records are proud to reissue Ambiance II Fusion's mid-80s fusion rarity "Come Touch Tomorrow" - originally recorded in Hollywood CA October/November 1984 and released in 1985. Following a yearly run of 4 albums self-released between 1979 and 1982, Nigerian-born saxophonist, flutist, and clarinettist Daoud Abubakar Balewa then took a few years off before returning with 1985's "Come Touch Tomorrow", the first of two albums issued under the updated name of Ambiance II Fusion. Combining the afro-spiritual jazz & be-bop inflected fusion of his earlier work as Ambiance, this record took the project into more modern & distinctly cosmic planes with the introduction of spacey pads and drum machines working alongside somewhat tighter arrangements and solid rhythm sections. Of particular note here is the B1 track "Boy What a Joy" on which a sublimely funky synth & drum machine throwdown is presented in prophetically lo-fi fashion - recalling recent stylistic approaches from the likes of Dâm-Funk among others.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others. In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces. In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo). In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase. It is on REBIRTH that Harrison released the opus: BIRTH OF A FOSSIL (1985), which we are proudly presenting you today. BIRTH OF A FOSSIL is a monster of an album featuring an all-star line-up that includes Dennis Rowland (Count Basie) on vocals, Duke Billingslea (Martha Reeves) on bass guitar, Pamela Wise (Tribe) on keyboards and Lorenzo Brown (Marcus Belgrave, Strata Records, Dennis Coffey) on percussion. On this fantastic sounding album (produced by the maestro himself) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency on saxophone, flute and clarinet…and although you can hear the 80ies creeping in with a smoother fusion sound, more synths, and R&B vocals… this remains a very spiritual (and soulful) jazz record. From the first to the last note you get an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released. Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Birth Of A Fossil’ since its release in 1985. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with the original artwork.

Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True. Howard’s Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis. The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout. Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project. After the band split up, Vince Howard went on to pursue his acting career and landed roles in television shows such as Star Trek, Knight Rider, Cheers, Mission: impossible and starred in classic films including Trouble Man and Lethal Weapon. Talk about a career switch! Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection! Tidal Waves Music (in collaboration with The Numero Group) now proudly presents the first ever vinyl reissue of this rare Soul-Funk album (original copies tend to go for large amounts on the secondary market) originally released in 1974 on Viscojon Records. Now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip. As an extra bonus feature, the limited color vinyl versions of this reissue will also include an exact reproduction of their classic 1975 ‘Funk On Down/Fallen Angel’ 7inch EP.

Strut revives a lost recording from the archives in January with a 2002 collaboration between acclaimed South African folk singer Vusi Mahlasela, singer songwriter Norman Zulu and Swedish jazz / soul collective Jive Connection. The links between South Africa and Sweden have long been strong with Sweden one of the most supportive European nations in the struggle against apartheid; the government helped to fund the ANC for decades and Mandela visited the country on one of his first European stops following his release from prison in 1990. Sotho folk singer Vusi Mahlasela, dubbed “The Voice” Of South Africa, performed at Mandela’s inauguration in 1994 and has enjoyed his own long relationship with Sweden, regularly embarking on cultural exchanges and forging a strong bond with the Jive Connection band, featuring guitarist / bassist Stefan Bergman and Little Dragon drummer Erik Bodin within its line-up. Although touring regularly, the collaboration has rarely been documented beyond a lone studio album in 1994. This “lost” recording, discovered in the archives of producer Torsten Larsson, also features songwriter / vocalist Norman Zulu and showcases their natural musical chemistry together. Vusi’s songs have traditionally addressed the struggle for freedom and the need for reconciliation and, here, his lyrics are as powerful as ever, ranging from parables (‘Prodigal Son’) to an unflinching lament on child abuse (‘Faceless People’). Jive Connection vary the soundtrack, bringing in hints of reggae, jazz and post-punk alongside traditional township arrangements. Face To Face is mastered by The Carvery. Artwork features unseen photos from the album sessions along with full lyrics. Produced in association with Torsten Larsson.

“RARE & LOST TAPES” is a collection of singles by the legendary group CORTEX never released on album. This album brings together previously unreleased and rare recordings such as "Les Oiseaux Morts" (Alternative Take 76) released only as a Test Pressing, "Mary & Jeff" (Fender Rhodes Version 77) recorded for TV, or "Californie" & "Stevie" released for the Side Project CARIBOU in 7Inch...

Black Market Brass is proud to present Hox, due out on Colemine Records on September 8, 2023. Their third LP is a new take on afrobeat that combines traditional grooves with heavy, hypnotic, sci-fi sounds that reflect the band’s myriad of influences as record collectors across genres. “We didn’t leave the traditional afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation.” Shared saxophonist Cole Pulice. Like their previous albums, the 9-piece band recorded Hox live to tape. “The sound and aesthetic of the analog recording process is important for this kind of music,” Pulice explained. “We’re looking to capture lightning in a bottle.” With that, the album features several sections of heavily processed synthesizers, harsh glitches, fuzzed out guitars, and a burning percussion section that pays homage to the traditional drumming cultures of Nigeria and Ghana. The performances are dynamic and confident. The grooves are infectious and hypnotic. BMB has pushed further into musical experimentalism, but at the end of the day, they’re still making dance music. Krautrock, free-jazz, doom metal – the inspirations for Hox stem from all kinds of musical backgrounds, but the sound is far from scattered. It’s a polished, innovative record that’s sure to exceed expectations and keep the listener engaged from start to finish.

Mort Garson is the ultimate jack-of-all-trades. He is best known for his pioneering work in the field of electronic music - his albums from the 1960s and 1970s were among the first to use Moog synthesizers, and constitute a rich catalog in which the classic Plantasia stands proudly. In 1974, Mort Garson composed the music for the American neo-black action/blaxploitation film Black Eye, starring Fred Williamson. The Black Eye soundtrack shows yet another fascinating facet of Mort's remarkable composing talent. Strongly influenced by soul, funk and jazz, Garson cleverly fuses dynamic horn sections and funky bass lines with synthesizers, resulting in unconventional sonic textures that blend the classic sounds of the blaxploitation film soundtrack with electronic elements and experimental sounds.

Black Market Brass is proud to present Hox, due out on Colemine Records on September 8, 2023. Their third LP is a new take on afrobeat that combines traditional grooves with heavy, hypnotic, sci-fi sounds that reflect the band’s myriad of influences as record collectors across genres. “We didn’t leave the traditional afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation.” Shared saxophonist Cole Pulice. Like their previous albums, the 9-piece band recorded Hox live to tape. “The sound and aesthetic of the analog recording process is important for this kind of music,” Pulice explained. “We’re looking to capture lightning in a bottle.” With that, the album features several sections of heavily processed synthesizers, harsh glitches, fuzzed out guitars, and a burning percussion section that pays homage to the traditional drumming cultures of Nigeria and Ghana. The performances are dynamic and confident. The grooves are infectious and hypnotic. BMB has pushed further into musical experimentalism, but at the end of the day, they’re still making dance music. Krautrock, free-jazz, doom metal – the inspirations for Hox stem from all kinds of musical backgrounds, but the sound is far from scattered. It’s a polished, innovative record that’s sure to exceed expectations and keep the listener engaged from start to finish.

Say She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver. The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve. Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

'Tapestry: Koto' is a 3-album series produced by Nippon Columbia in the mid-1970s dedicated to one of the main instruments of Japanese traditional music: Koto. The beauty of the trilogy curated by composer Kiyoshi Yamaya, whose chapters are respectively dedicated to Sea, Hillside and Country, lies in the fact that they are a modern translation of tradition using newer and more avant-garde sound idioms, integrating the koto with jazz musicians. An original mix, a 'crossover’ that allows for the awakening and the consequential spread of traditional music in larger contexts. The extreme accuracy of the marvellous recordings is also remarkable.

Since the late 1960s, when jazz music began to diversify, many works were produced that attempted to return to Japan in a radical musical style, and "KOKEZARU KUMIKYOU" is a spearhead among them. The album is based on a fusion of jazz and traditional Japanese music, using Japanese and electric instruments, and injecting elements of contemporary rock and psychedelic music into it. The sound is relentless and intense. This is an ambitious and eternally problematic work by Miho, who has been called a genius by all.

Say She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver. The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve. Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Melvin Sparks (1946–2011) was a talented American Soul Jazz, Hard Bop & Blues guitarist. The Texas native picked up a guitar at age 11 and was only 13 when he sat in with B.B. King. As a high school student first he joined Hank Ballard and the Midnighters, and then the Upsetters (a touring band formed by Little Richard, which also backed Curtis Mayfield, Sam Cooke and Marvin Gaye). Sparks and his guitar were very much in demand during the ‘60s-‘70s and he was featured on sessions by Lonnie Smith, Charles Earland, Lou Donaldson & Sonny Phillips among others.

In These Times is the new album by Chicago-based percussionist, composer, producer, and pillar of our label family, Makaya McCraven. 

Although this album is “new," the truth it’s something that's been in process for a very long time, since shortly after he released his International Anthem debut In The Moment in 2015. Dedicated followers may note he’s had 6 other releases in the meantime (including 2018’s widely-popular Universal Beings and 2020’s We’re New Again, his rework of Gil Scott-Heron’s final album for XL Recordings); but none of which have been as definitive an expression of his artistic ethos as In These Times. This is the album McCraven’s been trying to make since he started making records. And his patience, ambition, and persistence have yielded an appropriately career-defining body of work. 

As epic and expansive as it is impressively potent and concise, the 11 song suite was created over 7+ years, as McCraven strived to design a highly personal but broadly communicable fusion of odd-meter original compositions from his working songbook with orchestral, large ensemble arrangements and the edit-heavy “organic beat music” that he’s honed over a growing body of production-craft. 

With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators – including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill – the music was recorded in 5 different studios and 4 live performance spaces while McCraven engaged in extensive post-production work from home. The pure fact that he was able to so eloquently condense and articulate the immense human scale of the work into 41 fleeting minutes of emotive and engaging sound is a monumental achievement. It’s an evolution and a milestone for McCraven, the producer; but moreover it’s the strongest and clearest statement we’ve yet to hear from McCraven, the composer. 

In These Times is an almost unfathomable new peak for an already-soaring innovator who has been called "one of the best arguments for jazz's vitality" by The New York Times, as well as recently, and perhaps more aptly, a "cultural synthesizer." While challenging and pushing himself into uncharted territories, McCraven quintessentially expresses his unique gifts for collapsing space and transcending borders – blending past, present, and future into elegant, poly-textural arrangements of jazz-rooted, post-genre 21st century folk music.