MUSIC

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.

These sounds came to me in a stage of my life when i was learning to seek nothing...to be nothing.....Grasp the formless form and the world comes to you....All come to you unharmed for peace, security & rest.

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.

Merging the sounds of nature along with his resounding vibraphone, Arthur Lyman and producer Gordon Broad created Island Vibes, an ambient/jazz/field recording album that exhibits the pure weightlessness of Lyman’s music. A lost gem from the exotica pioneer's catalog — and his last recorded album — Island Vibes paints a meditative tropical canvas of the Hawaiian Islands’ natural beauty. A welcomed sonic transport to paradise, much needed in a (post-)pandemic world. Originally recorded with Broad Records, who’s responsible for Phase 7’s Playtime and other important 1970s and 80s-era local records. At eight years old, Arthur Lyman's music was already being played in public spaces via a toy marimba performance on the radio. While Lyman laughed about the experience, he would continue performing and ultimately debuted professionally at 14 with a jazz group. His skills earned him a place as a vibraphonist alongside exotica pioneer Martin Denny, although Lyman would leave the Denny's group soon after to pursue a solo career. Island Vibes would become Lyman’s final recorded album, an embodiment of the term of "relaxation", relying solely on Lyman’s instrumentation and the quaint lull of ocean waves to produce a picturesque atmosphere.

First vinyl reissue since ’79 for the mystique-shrouded composer and his enigmatic songstress! Songstress Moon Ji-young remains one of the most enigmatic figures of Korea’s 70’s gayo scene. Her debut release from SRB Records would be her sole record. The record was produced in 1979 with SRB-affiliated composer/arranger Yon Seok-won at the helm. In addition to 5 songs for Moon, Yon also included tunes that had been released through his solo and group projects, the Outsiders among them. Standout tracks include the title track ‘Love Tactics‘, gained a new following upon its rediscovery among fans of 70’s K-Funk, the 2-part epic ‘Tree in Winter’, and the noir-inspired blues/jazz tune ‘Terminus’. The instrumental ‘When Love Comes and Goes’ is another interesting track that foreshadows Yon’s later excursions into jazz-based New Age/Ambient territory. Included as a bonus track is the killer funky banger ‘Unwavering Heart’ by the Outsiders.。

In 1979 Suns of Arqa creator and mentor Michael Wadada set about recording the ground breaking Suns of Arqa album 'Revenge of the Mozabites' with his friend Adrian Sherwood. Together they formed the ‘4D Rhythm’ label – the world was not ready! Wadada retreated to the Pennine mountain range in Lancashire, Adrian Sherwood went on to create the formidable ‘On-U Sound’ label. Three years went by before a a very curious Peter Gabriel came across a rare copy of that first Suns of Arqa album; he was putting together the very first World of Music and Dance festival (WOMAD), and asked Suns of Arqa to come and perform. Revenge of the Mozabites is where it all started, this truly eclectic album of world-dub-east-west fusion from Suns of Arqa, ignited what would ultimately become the new World Beat Dub Dance genre which has influenced & inspired so many artists today.

The tragic tale of Billie Holiday involves a fractured childhood, a seemingly endless series of abusive men, and addictions to heroin and alcohol, all played out in the public eye after targeting by the FBI. Nevertheless, her huskily expressive voice is timeless and the way she brought blues phrasing into jazz was hugely influential. The 1956 release Lady Sings The Blues took its name from her shocking autobiography and the disc finds her on fine form throughout, the landmarks including the immortal "Strange Fruit," the defiant "God Bless The Child," the mournful "No Good Man" and the great title track. Classic Lady Day all the way!

Timeless atmospheres, hypnotic sonorities, minimal arrangements. And a composer gifted with a never ending passion for music, experimenter in his genetic code, innovator by vocation, at ease with various instruments in order to forge avant-garde themes. Piero Umiliani was already forward in building completely new sounds in the late Seventies. “Tra Scienza E Fantascienza” finds his alter ego Moggi experimenting with alternative grooves, electronic music, jazz tunes and soundtrack motifs. One of the most interesting music libraries in the Italian composer's discography, reissued with a new remastering by Musica Per Immagini, is in full harmony with its title. Science fiction has opened up our eyes to a variety of scenarios, possible or impossible, sometimes with a happy ending, sometimes apocalyptic, at times familiarly near, more often disarmingly far away, and always capable of inspiring our imagination. For the histrionic artist it took, perhaps, less of a cosmic leap to create this masterpiece. Centred on the cover, a strange creature with only one eye, its hands on a beaker containing a mysterious red liquid. To its right, a symbolic circle is imprinted on a sandy surface, and three bizarre constructions, similar to the volumetric flasks found in a laboratory, of differing heights and shapes. There is a strange blue planet in the distance. (Notes and images of a dystopian future according to Piero Umiliani)

Here is the second album of original japanese freak Magical Power Mako, originally released in 1975. A truly iconic acid folk manifesto, interspersed with intense moments of pure psych rock. A sonic journey into imaginary lands !

As with Directstep (recorded one week previously), this album was recorded, and originally only released, in Japan. It was one of Hancock's most successful albums in Japan, perhaps because it was entirely solo piano. Hancock tackles jazz standards such as "My Funny Valentine", "On Green Dolphin Street" and "Some Day My Prince Will Come" while also performing four original compositions.

Unorthodox saxophonist Albert Ayler straddled different jazz streams during his brief career. After playing with Stanley Turrentine and Harold Budd in the late 1950s, a move to Sweden brought him into the limelight, fronting his own trio. Debut album Something Different!!!!!! comprised four dissonant songs delivered live with bassist Torbjörn Hultcrantz and drummer Sune Spångberg, with a barely recognisable rendition of showtune “I’ll Remember April,” an off-kilter take of Sonny Rollins’ “The Stopper” (retitled “Rollins’ Tune”) and a wobbly cut of Miles Davis’ “Tune Up,” along with the original “Free.” An exceptional musical experience!

Jorge Ben is someone who needs no introduction. Since his first hits in the 60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time. After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -Trio Mocotó-, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the 70s. Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the 80s reflect this trend and deliver a good number of outstanding tunes. “Bem-Vinda Amizade” is one of those albums. Recorded in 1981, it is a solid album, start to finish. It comprises the usual samba funk numbers, so characteristic of Jorge Ben, with killer boogie and disco tracks (‘Oé Oé (Faz O Carro De Boi Na Estrada)’, ‘Ela Mora Em…’). And it also contains downtempo soulful slow burners like 'Lorraine' or 'Katarina, Katarina', funky as Hell! An essential addition to any Brazilian music collection.

Fully remastered and licensed, ltd to 500 copies 180 gr vinyl. Officially the latest album released by the british super group, Lows & Highs is the triumphant epilogue to these fascinating adventure in rhythm. Featuring vocals from Crucial Tony and Lizard Logan this is probably the most straight ahead reggae album in their whole discography. Producer Adrian Sherwood is in charge behind the desk while Style Scott, Eskimo Fox and Donald Campbell bring all their potential efforts on the drums. Deadly Headley and Dave’ Flash’ Wright are the top horn section here. The album features the bonus track Read And learn from 1982 single ‘Love I Can Feel’. A must have for any english dub worshipper.

A buoyant masterpiece from the early 90s, “The Water Garden” was created by Okinawa-born Kojun Kokuba under the inspiring image of a “happy Asia” thriving in the sea-based trading networks of the medieval to pre-modern era, with the concept that various types of music, as well as physical goods, were distributed and dispersed across the seas connecting various parts of east and southeast Asia. Fittingly, the music here has definite and distinctive Ryukyu island roots, but is informed by a number of other Asian musical traditions, layering phrases derived from numerous Asian scales, often altered by Kojun, eschewing typical Western chordal harmonic movement. Kojun uses the synths and multitrack recorders of the early 90s to, in his words, “pile up lines” in sweet and not at all overbearing melodic accumulations, with a desire to distribute and disperse a new energy from Okinawa to the rest of Asia and the world. Despite a pleasing and compelling rhythmic lilt and the use of synths and drum machines, this music was not created as a product for the dance floor; Kojun envisioned a type of electronic salon music, a “light music” made with contemporary technology. This is the first LP edition of the self-produced original 1993 CD release and includes bonus tracks and liner notes in English and Japanese.

Nicole Lachartre: “Mundus” 3LP box – Metaphon 012 - 2023 Hardboard linen LP box with silkscreened titles, 12 page booklet with track info and text by Vincent de Roguin and Mark Harwood, notes by Lachartre and a rare portrait photo from 1969. Edition of 200 copies Available through the La Scie Dorée webshop First ever release of French composer, musicologist and writer Nicole Lachartre (1934-1991). This 3LP set comprises most of her electronic music and musique concrète compositions recorded in the 60’s and 70’s, all previously unreleased. Lachartre had a classical formation, studied with a.o. Darius Milhaud, Iannis Xenakis and Michel Philippot. Her broad formation and interest as well as her profound commitment and singular vision created a solitary voice even within the field of electronic music and musique concrète, strangely enough unheard till this day. Her first tape composition from 1968 was recorded in Pierre Henry’s Apsome studio and most of her other electronic and electro-acoustic compositions included in this box set were recorded at the IPEM in Ghent.

Originally released in 2016 as a tour-only cassette, 'Origo' is the first recorded evidence of Timo Van Luijk (Elodie) and Bart De Paepe's Ilta Hämärä project, a heady, hallucinogenic psych-drone jammer that's been bumped up with an extra cut from the same era. Ilta Hämärä is the outlet for Van Luijk and De Paepe's smokiest, dankest material - sessions that thrum at their own pace, tickling the pineal in the process. If you can remember Brooklyn's Religious Knives, or Kiwi skronkers Pumice, you'll have a good idea of where Ilta Hämärä are headed. The opening side's 'Ilma' pits organs against blunted drums and swirling pads, before we lurch into the atmospheric 'Vesi', a soupy zoner that's carried by lysergic axe tweaks and gurgling synths. On the second side, the mood continues with the grim, green-hued 'Vesi', but it's the previously unheard 'Eetreni' that has us most captivated. While it was recorded around the same time, it's markedly different gear, a long-form, mostly beatless Alice in Wonderland thriller that sounds as if it was pruned from a long-lost Czech or Hungarian new wave movie. Flutes and dulled oscillations wind around each other in the first stretch, but when the drums begin to surface they attack like a death rattle from another reality, spplintering out into serrated, saw wave noise and ritualistic crashes...

Thrilled to announce the reissue of Nikolaus Utermöhlen’s ‘Karlsbad’ album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness. The recordings of this album were made for the ‘Georgette Meunier’ film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.

he unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO). Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

DJ Shadow, aka Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, 1996's Endtroducing shudders with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind.

Nocturne, the sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne speak to a new Wild Nothing where the lines between Jack's influences and personality have been further blurred. The album features some open references to past music just as his critically acclaimed debut Gemini did, but it's also an album that feels much less rooted in anything in particular and, well, more adult. Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of Nocturne is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

I met the Chinese-Jamaican record producer Philip Stanford ‘Justin’ Yap in August 1991 in Queens, New York, where he was working, driving a taxi. In person Justin was a warm, friendly man who loved music and good Chinese food, and we spent a few days together talking about his music and his life in Kingston and the USA.

In the early 1960s Justin and his brother Ivan [aka ‘Jahu’] ran the Top Deck sound system from their family’s ice cream parlour and restaurant in Barbican, Kingston. The local success of the sound system encouraged them to venture into the recording business, and by 1962 Justin had recorded singers Larry Marshall, Ephraim ‘Joe’ Henry and Ferdie Nelson. The fledgling label recorded a couple of tunes with Larry Marshall and trumpeter Baba Brooks. “Distant Drums” by Brooks and the Trenton Spence Orchestra was a version of the old Cuban composition by Ernesto Lecuona, called “Jungle Drums” [originally “Canto Karabali”, recorded in 1928]. The label enjoyed a modest local Jamaican hit in 1963, when issued on Top Deck Records as the b-side to Larry Marshall’s hit “Too Young To Love”. As a fan of easy listening musician Martin Denny, Justin had heard “Jungle Drums” on Denny’s 1959 LP “Afro-Desia”. His liking for Martin Denny would prove fruitful later, when Justin recorded the Skatalites in a mammoth all-night session in 1964 at Clement Dodd’s Studio One on Brentford Road. The site had formerly been the location of a jazz club called ‘The End’.

By 1963-1964, hundreds of ska tracks were being recorded by Clement Dodd, Arthur ‘Duke’ Reid, Vincent Edwards, Vincent Chin, Leslie Kong and Prince Buster and others. Justin had linked up with Allen ‘Bim Bim’ Scott, a friend of Clement ‘Coxson’ Dodd, owner of the Studio One label who had already recorded the musicians who became the Skatalites. Through Scott, Justin met the Skatalites: “[Scott] started to say, well, you could get the Skatalites band, which was on fire at the time. Then he got me introduced to Roland, [Alphonso] Johnny Moore, the basic band at the time, Knibb and everybody. And then we hook up with Don Drummond too. I call him maestro. He takes over. He’s in charge. He knows what he’s doin’ – he’s very professional. And when you hear my recordings with Drummond, you know he’s in charge. I remember when I drove Bim downtown, we drove to his house. First of all, I didn’t go in – Bim went in and talked to him first. I remember he took off! Just went down the road and come back with his answer – it’s OK.”

Justin and brother Ivan organised the session in November 1964 at Studio One; it lasted 18 hours. Justin and Ivan had laid on food, drink and ganja: as Justin told me “This was a monster session and it turned out the greatest recording for me. One night session, one long jam session; it was like a party!” Justin was not only scrupulous about prompt payment for the musicians and singer Jackie Opel – he actually paid double the going rate.

The length of the session also allowed for alternate takes to be recorded, but the highlights of the sessions were the five original compositions by Don Drummond – “Marcus Junior”, “The Reburial”, “Confucious”, “Chinatown” and “Smiling”. The first two are in tribute to the Pan-Africanist Marcus Garvey; “The Reburial” refers to the occasion of his interment in Jamaica in 1964, his remains having been brought from the cemetery in Kensal Green London, where he was originally buried in 1940, and reburied in King George VI Memorial Park Kingston [later renamed National Heroes Park].

Along with these originals were some well-chosen cover versions. Two came from the Duke Ellington book: “Ska-Ra-Van” is of course Duke Ellington and his trombonist Juan Tizol’s classic composition “Caravan”, while “Surftide Seven” is Ellington’s “In A Mellotone”. The LP title track “Ska-Boo-Da-Ba” is a version of Bill Doggett’s 1958 “King” US 45 “Boo-Da-Ba”. “Ringo” had also appeared on Arthur Lyman’s “Taboo” LP [1958] where it’s titled “Ringo Oiwake”. Originally it was sung by Hibari Misora – a very famous vocal song in Japan, recorded in 1952, the melody composed by Masao Yoneyama. Yet another tune copped from Lyman’s “Taboo” LP is “China Clipper”, composed by the pianist / arranger / orchestrator Paul Conrad, best known for his arrangements for 1950s English ballad singer David Whitfield. Incidentally, Conrad also recorded a classic easy listening set called “Exotic Paradise” in 1960, which fetches big money from collectors of that much-maligned ‘exotic’ genre.

The last track on this fine LP is “Lawless Street”, a feature for Roland Alphonso. Unlike the other Skatalites, Roland wasn’t a graduate of the celebrated Alpha School, like many of Jamaica’s top musicians from Bertie King to Yellowman. Alphonso was a graduate of Boys Town School in Denham Town. “Lawless Street” was another tune that was recorded twice at the session – the second version features vocal ‘peps’ and exhortations by DJ King Sporty.

The following year, the Skatalites again recorded for Justin at Clement Dodd’s Studio One and at the studio of the Jamaica Broadcasting Corporation [JBC]; from these sessions came tunes like “Red For Danger” and “Yogi Man”. Justin’s last session produced further brilliant cuts with Roland Alphonso – a superb version of jazz pianist Ray Bryant’s “Shake A Lady” and a hypnotically relentless version of Henry Mancini’s theme for the Peter Sellers film “A Shot in The Dark”. He also issued a great LP by the soulful Bajan singer Jackie Opel.

By late 1966, Justin emigrated to the USA, settling permanently in New York. There he took up US citizenship and was called up to serve in the US Army in Vietnam, In the early 1970s he worked in computers and eventually drove a New York cab. In his all too brief involvement in the competitive Jamaican music business he certainly left his mark as a producer. He produced some of the best ska ever made, and the LP reissued here is perhaps the most coherent LP in that genre, deriving as it does from a single session.
The celebrated record producer at Randy’s Studio, Clive Chin, who actually introduced me to Justin in the summer of 1991, had this to say to writer Heather Augustyn:

“It wasn’t the fact that they [the musicians] really love Justin; it was the fact that Justin used to pay them the right money and make them comfortable. Make sure them have them smoke, them food, them drink, and after them finish they got paid.” Unlike many other producers, Justin actually attended the sessions.

On a personal note, I was working in Spain during 1966- 1969 when the LP was released in the UK on Doctor Bird Records. What actually got me listening to the record again – in particular the Drummond compositions – was a concert I attended in late 1969 at the Lyceum in central London, performed by the jazz-rock band ‘East Of Eden’. During that concert they played an extended version of “Marcus Junior”. At first the rock treatment – led by electric violin and soprano sax – confused me. Then when that group issued a single with “Marcus Junior” as the b-side of their UK hit “Jig-A-Jig” on UK Deram, I bought that record, and there was the correct composer credit of ‘Drummond’ on the label. It sent me straight back to the original Doctor Bird LP.

In the late 1990s Justin was diagnosed with liver cancer, and although he’d returned to Jamaica, he travelled often to the US for treatment. During the time I spent with Justin, we had many conversations about music and life – as I noted earlier he was a warm and friendly guide to New York. Through Justin I got to know a great Chinese restaurant on the Bowery, where I had the best Chinese style spare ribs and cabbage I’ve ever tasted. I was also happy to find in Kingston the original tape of “Distant Drums” which I was able to return to Justin in early 1993. In conclusion I’m still grateful for everything he showed me – his kind personality, fascinating conversation and most of all, for the great music he produced. It stands as his defining legacy in Jamaican music history.

Steve Barrow / October 2023 

A much requested reissue of Cashmere Cat’s classic 2014 LUCKYME® EP, prior to production for Ariana Grande, Bladee, The Kid Laroi, SOPHIE, The Weeknd, Kanye West, FKA Twigs, Travis Scott, Charli XCX, Kehlani, Juice World & many more.

Almost ten years on this record still stands the test of time, every beat and electronic contortion bursting with character. The expressive waves of autotune and electro thump of previous single 'With Me' give way to the stuttering rhythms of 'Pearls' and the feather-light drip of 'Rice Rain'. Title track 'Wedding Bells' is the standout though, sultry voices and shiny, delicate production mixing with the thick low-end of 00s hip hop for infectious results.

Stuart Dempster created Underground Overlays From The Cistern Chapel in the same cistern where the legendary Deep Listening album was recorded. Reverberating with powerful, deep tones, this double LP is intended as a companion to the acclaimed Oliveros/Dempster/Panaiotis album Deep Listening. Underground Overlays From The Cistern Chapel is one of the deepest drone albums ever recorded. Nine trombones, didjeridu and Tibetan bells fill the massive two million gallon cistern with dense sonic reverberations that are both haunting and healing. Packaged in a heavy duty paper sleeve printed with metallic gold ink to match the Deep Listening design.

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The third instalment "Reissued 3", which follows the series' first two EPs from previous years, features again some exceptional pieces that were previously only available on CD.