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Search Result for Genre WORLD
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CD
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TBCD 024CD
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$15.50
PREORDER
RELEASE DATE: 3/27/2020
Teranga Beat presents Ormenion, a record by the group Evritiki Zygia. Ormenion is a historical region that dates back to the Byzantine Empire. It is the northernmost inhabited region of Greece, where the last railway station of the country is located. During the 1920s, it was inhabited by refugees coming from the North and Eastern Thrace. Immigration is central to the history of the region of Thrace, where many songs refer to refugees and moving populations. The name of this particular place was selected as the album title due to its delicate cultural and geographic status: Ormenion coincides with the borders of three different countries (Greece, Bulgaria, and Turkey) and its history counts several waves of immigration that gave way to cultural and even linguistic exchange -- elements that obviously left their mark on the group. The group Evritiki Zygia was founded in 2007 by five musicians who played mostly in local festivals, their main concern being the preservation and evolution of the Thracian musical tradition. The collaboration with Teranga Beat helped this project evolve even further. Forms of arrangement different than the ones used in local feasts and festivals, were introduced giving more space to the dynamics of the instruments and allowing musicians to show both their improvisational and compositional skills. The distinctively psychedelic element of Thracian music was enhanced with the introduction of the CRB-Diamond 800 organ and the Moog, giving the whole project a hybrid sound with a unique identity. The album contains both covers of traditional songs and original compositions. The band's highest point was their appearance at the Womex Festival in 2018, where their music was presented for the first time in front of an international audience. Ormenion was recorded on an analog 24-track tape Otari MX 80 in two sessions that took place on May 18 and 19 2019. It is a live recording that captures the energy of the group's live performances. CD version comes in digipak with slipcase, and includes a booklet with photos and liner notes outlining the story of the band.
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CD
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GB 091CD
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$15.50
PREORDER
RELEASE DATE: 3/27/2020
On Tamotaït, Tamikrest's fifth studio album, the music blazes bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands from which Tamikrest come, this is more than an album. Tamotaït means hope for a positive change. Change as in an end to the fighting that's plagued northern Mali and the wider region for the past several years; change such as the chance to prosper within their own homeland -- Azawad -- a proto nation that the nomadic Tuareg (or Kel Tamasheq as they prefer to be called) briefly possessed in 2012. It's assouf, music forged in exile. Because of the toxic regional conflict, for much of the last decade the founding members of Tamikrest have not lived in Kidal, Mali, the desert crossroads town where the band began in 2007. They live in Tamanrasset (Algeria), Paris, and at times along the desolate Algerian/Malian borderlands. Yet, exile can also mean the hope of return, and on "Amzagh" and "As Sastnan Hidjan", the two tracks the group sees as pivotal to understanding the themes of Tamotaït, Tamikrest sing of the possibilities that lie ahead for the Kel Tamasheq people. The music builds and builds, the dual, intertwined guitars of Ag Mossa and Paul Salvagnac relentless and insistent, until it finally all boils over. It also brings light and warmth and comfort, and its glow fills the beautifully aching "Timtarin", where the band is joined by an ideal collaborator, the renowned Moroccan singer Hindi Zahra. Tamotaït is the most expansive and adventurous album that Tamikrest have made, exploring every corner of their sound. There's even music they made far from the Sahara -- in Japan. On tour there, Ag Mossa had been very taken by the sound of their traditional instruments. Tamikrest's plans to record there were almost derailed by a typhoon. But one track does appear on the album: the final cut, "Tabsit", with its atmospheric, gossamer melody. The shamisen and five-string tonkori of guests Atsushi Sakta and Oki Kano glide around the guitars to create a piece where the desert truly does meet the Rising Sun. Most of Tamotaït, though, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), stepping up from his mixing role on the band's 2016 release, Kidal (GB 043CD/LP). Tamikrest have become one of the best rock n' roll bands in the world.
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LP
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TBLP 024LP
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$23.50
PREORDER
RELEASE DATE: 3/27/2020
LP version. Gatefold cover; printed insert and download code. Teranga Beat presents Ormenion, a record by the group Evritiki Zygia. Ormenion is a historical region that dates back to the Byzantine Empire. It is the northernmost inhabited region of Greece, where the last railway station of the country is located. During the 1920s, it was inhabited by refugees coming from the North and Eastern Thrace. Immigration is central to the history of the region of Thrace, where many songs refer to refugees and moving populations. The name of this particular place was selected as the album title due to its delicate cultural and geographic status: Ormenion coincides with the borders of three different countries (Greece, Bulgaria, and Turkey) and its history counts several waves of immigration that gave way to cultural and even linguistic exchange -- elements that obviously left their mark on the group. The group Evritiki Zygia was founded in 2007 by five musicians who played mostly in local festivals, their main concern being the preservation and evolution of the Thracian musical tradition. The collaboration with Teranga Beat helped this project evolve even further. Forms of arrangement different than the ones used in local feasts and festivals, were introduced giving more space to the dynamics of the instruments and allowing musicians to show both their improvisational and compositional skills. The distinctively psychedelic element of Thracian music was enhanced with the introduction of the CRB-Diamond 800 organ and the Moog, giving the whole project a hybrid sound with a unique identity. The album contains both covers of traditional songs and original compositions. The band's highest point was their appearance at the Womex Festival in 2018, where their music was presented for the first time in front of an international audience. Ormenion was recorded on an analog 24-track tape Otari MX 80 in two sessions that took place on May 18 and 19 2019. It is a live recording that captures the energy of the group's live performances. CD version comes in digipak with slipcase, and includes a booklet with photos and liner notes outlining the story of the band.
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LP
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GB 091LP
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$23.50
PREORDER
RELEASE DATE: 3/27/2020
LP version. 180 gram vinyl; included download code. On Tamotaït, Tamikrest's fifth studio album, the music blazes bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands from which Tamikrest come, this is more than an album. Tamotaït means hope for a positive change. Change as in an end to the fighting that's plagued northern Mali and the wider region for the past several years; change such as the chance to prosper within their own homeland -- Azawad -- a proto nation that the nomadic Tuareg (or Kel Tamasheq as they prefer to be called) briefly possessed in 2012. It's assouf, music forged in exile. Because of the toxic regional conflict, for much of the last decade the founding members of Tamikrest have not lived in Kidal, Mali, the desert crossroads town where the band began in 2007. They live in Tamanrasset (Algeria), Paris, and at times along the desolate Algerian/Malian borderlands. Yet, exile can also mean the hope of return, and on "Amzagh" and "As Sastnan Hidjan", the two tracks the group sees as pivotal to understanding the themes of Tamotaït, Tamikrest sing of the possibilities that lie ahead for the Kel Tamasheq people. The music builds and builds, the dual, intertwined guitars of Ag Mossa and Paul Salvagnac relentless and insistent, until it finally all boils over. It also brings light and warmth and comfort, and its glow fills the beautifully aching "Timtarin", where the band is joined by an ideal collaborator, the renowned Moroccan singer Hindi Zahra. Tamotaït is the most expansive and adventurous album that Tamikrest have made, exploring every corner of their sound. There's even music they made far from the Sahara -- in Japan. On tour there, Ag Mossa had been very taken by the sound of their traditional instruments. Tamikrest's plans to record there were almost derailed by a typhoon. But one track does appear on the album: the final cut, "Tabsit", with its atmospheric, gossamer melody. The shamisen and five-string tonkori of guests Atsushi Sakta and Oki Kano glide around the guitars to create a piece where the desert truly does meet the Rising Sun. Most of Tamotaït, though, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), stepping up from his mixing role on the band's 2016 release, Kidal (GB 043CD/LP). Tamikrest have become one of the best rock n' roll bands in the world.
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CD
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FARO 216CD
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$14.00
PREORDER
RELEASE DATE: 3/20/2020
On his debut album Travesseiro Feliz (Happy Pillow), Rio de Janeiro based artist Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz, and rock. He also takes inspiration from the many Brazilian greats -- Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle, and Azymuth (to name a few) -- who he has worked with as an engineer, assistant, and producer, in Rio's former RCA studio, Cia dos Tecnicos. Heavily influenced by Brazil's fabled Tropicalia movement, Richaid is also the grandson of Brazilian actor, singer, and Disney star Aurora Miranda (Carmen Miranda's younger sister). Describing his sound as "Industrial Tropicalism", Richaid's music is undoubtedly a product of his environment: warm, hazy and beautiful, but reflective of the current mood of his homeland, lamenting the political, economic, and ecological crisis. The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid's studio smarts. Travisseiro Feliz features notable names from across Rio's music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist/multi-instrumentalist Jose Ibarra (Milton Nascimento's touring group). On interlude track "Formigas" you also hear a few verses of Ricardo singing with his seven-year-old daughter, Nina. Carrying forward the Tropicália torch, the opener "Maracas Enterprise/Frio da manhã" is a two-part journey through Richaid's sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed-up synth stabs. A perfect example of Richaid's industrial tropicalism, "Largado Nu" mixes soft, acoustic guitar, and flutes with harder-edged synths and electric guitars, while "O Velho Cai" is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado. Living with his grandmother Aurora Miranda until the age of seventeen (featured in Walt Disney's Three Caballeros film, and happens to be the first human being to kiss Donald Duck), Ricardo would listen to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother's Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper. Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio's underground experimental psych and jazz scenes.
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FARO 216LP
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$22.00
PREORDER
RELEASE DATE: 3/20/2020
LP version. 180 gram vinyl. On his debut album Travesseiro Feliz (Happy Pillow), Rio de Janeiro based artist Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz, and rock. He also takes inspiration from the many Brazilian greats -- Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle, and Azymuth (to name a few) -- who he has worked with as an engineer, assistant, and producer, in Rio's former RCA studio, Cia dos Tecnicos. Heavily influenced by Brazil's fabled Tropicalia movement, Richaid is also the grandson of Brazilian actor, singer, and Disney star Aurora Miranda (Carmen Miranda's younger sister). Describing his sound as "Industrial Tropicalism", Richaid's music is undoubtedly a product of his environment: warm, hazy and beautiful, but reflective of the current mood of his homeland, lamenting the political, economic, and ecological crisis. The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid's studio smarts. Travisseiro Feliz features notable names from across Rio's music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist/multi-instrumentalist Jose Ibarra (Milton Nascimento's touring group). On interlude track "Formigas" you also hear a few verses of Ricardo singing with his seven-year-old daughter, Nina. Carrying forward the Tropicália torch, the opener "Maracas Enterprise/Frio da manhã" is a two-part journey through Richaid's sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed-up synth stabs. A perfect example of Richaid's industrial tropicalism, "Largado Nu" mixes soft, acoustic guitar, and flutes with harder-edged synths and electric guitars, while "O Velho Cai" is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado. Living with his grandmother Aurora Miranda until the age of seventeen (featured in Walt Disney's Three Caballeros film, and happens to be the first human being to kiss Donald Duck), Ricardo would listen to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother's Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper. Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio's underground experimental psych and jazz scenes.
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LP
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CREP 073LP
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$21.00
PREORDER
RELEASE DATE: 3/13/2020
Multidisciplinary Portuguese artists Calhau! return in 2020 with a new album and their first release on Discrepant. It's quite possible you've never heard about them. They're not that famous in Portugal or anywhere. Calhau! is formed by couple Alves von Calhau and Marta von Calhau, not their real names, but they're their real names in the artistic reality Calhau! have been working in the last 15 years. But now that you've read their name, you must dig in. They're one of a kind. They're not musicians, painters, illustrators, sculptures, visual artists, or performers. They're all the above but without manifesting their work specifically in any of them. While listening to Tau Tau --or any of their other releases -- that translates quite well: their sound is quite visual, the voices translate into movement and the arbitrary use of sounds reveal a strong sensibility to the architecture of aesthetic. Tau Tau manifests the voice element in Calhau!'s music as their main element. It's been present in previous releases, but it's the centerpiece here. All the words/phrases you hear are wordplays, with Portuguese words and their sounds, but also associations and co-relations. It's done with purpose and meaning, it's tailored work that carries meaning and -- like in "Bófiacult" -- a social critique. The sounds and how Marta plays with her voice expose some other areas of work in Calhau!'s domain, like their continued interest in Portuguese folk traditions, not just with music/sound but also with objects. Objects that, ultimately, you can listen in Tau Tau. If you're a fan of both Discrepant's Antologia De Música Atípica Portuguesa compilations (they've contributed with one track for the first volume "O Trabalho"), you'll find Tau Tau as a good complement of how 21st century musicians understand and recreate Portuguese folklore. Mastered and cut by Rashad Becker. Composed and performed by Von Calhau. Bag Pipes by Vasco Alves.
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LP
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BSR 904LP
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$24.00
PREORDER
RELEASE DATE: 3/13/2020
"180 gram vinyl reissue of Leroy Smart's long out of print 1977 album."
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LP
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VAMPI 212LP
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$26.50
PREORDER
RELEASE DATE: 3/6/2020
Vampisoul present a reissue of Sebastião Tapajos and Pedro Dos Santos's Vol. 2, originally released in 1972 only in Argentina. The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter. In this Vol. 2, the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers, or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo. Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina. Years later, when Brazilian rhythms were incorporated, along with jazz, to the spectrum of sounds regularly played at London clubs, by DJs such as Gilles Peterson or Paul Murphy, a renewed interest in this album arose as it includes the killer dancefloor tune "Tornei A Caminhar", an amazing samba funk number. But the general vibe of this solid album is driven by an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the rhythmic approach provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth. From the personal approach to Jobim's classic "Samba Do Aviao" to the energetic and fast paced "Ganga", the album opening song, the mysterious beauty of "Rio Das Ostras" to the cinematic moods of "Ambush" (bossa meets action film music?), this Vol. 2 is absolutely wonderful from beginning to end. It is a necessary complement to the much-hailed Pedro Dos Santos album Krishnanda (1968) in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
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VAMPI 213LP
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$25.00
PREORDER
RELEASE DATE: 3/6/2020
"The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba. and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín 'El Conde' Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo 'Sabor' Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy 'Tayrona' Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains ten bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone, and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández) and 'Matusa' (composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion-heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga, and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa..." --Pablo E Yglesias, DJ Bongohead of Peace & Rhythm Presented here in facsimile artwork and pressed on 180 gram vinyl.
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2LP
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ZEHRA 002LP
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$31.00
PREORDER
RELEASE DATE: 3/6/2020
Zehra present a reissue of Apocalypse Across The Sky by The Master Musicians of Jajouka featuring Bachir Attar, originally released in 1992. Available on vinyl for the very first time. Produced by Bill Laswell, remastered for vinyl by Helmut Erler at Dubplates & Mastering, Berlin. No matter if you consider the Master Musicians of Jajouka a "4,000 year-old rock n' roll band" (William S. Burroughs) or even "6,000 years old" (Ornette Coleman) -- without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism, and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader Bachir Attar, and till today every year at the end of Ramadan a fire in honor of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute), and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties. In the 1950s, Brion Gysin along with Paul Bowles were among the first westerners to witness such a ceremony, and it was Gysin who invited the Master Musicians of Jajouka to play in his restaurant in Tangier, and who later (in 1967) brought Brian Jones to the small village of Jajouka where the Rolling Stones guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the Master Musicians of Jajouka in the western world. Since those days, a wide number of creative minds like William S. Burroughs, Ornette Coleman, Marc Ribot, Flea, Talvin Singh, or the Rolling Stones have worked with the Master Musicians of Jajouka who are now performing regularly outside Morocco. In 1991, iconic producer Bill Laswell also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his Axiom label -- Apocalypse Across The Sky is, unlike other Laswell projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks among the essential recordings according to the world music magazine Songlines. 180 gram vinyl; gatefold sleeve; includes download code.
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VAMPI 214LP
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$26.50
PREORDER
RELEASE DATE: 3/6/2020
Vampisoul present the first vinyl reissue of Perú Negro's second album Son De Los Diablos, originally released in 1974. Peru has a rich folklore that reflects the cultural variety of its population as well as its history. Peruvian identity has been created from a mixture of traditions that includes those from the indigenous peoples of the Amazon and also those from the ancestral cultures of the Andes, the Spanish heritage and the rhythms and chants coming from its African communities. Afro-Peruvian music, also known as "música criolla", finds its roots in West African music, Spanish and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón. Perú Negro, a dance company that also incorporated percussion combined with música criolla, celebrated and recreated black culture in Peru and they quickly became regulars at Lima's theaters in the late '60s. The lyrics and music would reflect the country's multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labor and folklore. Their international success (in 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina) led them to record two albums in the early '70s conducted by Ronaldo Campos, Perú Negro's founder and artistic director. Son De Los Diablos is their second LP and was released in 1974 on Virrey Records, home to the likes of Sonora Lucho Macedo, Jaime Delgado Aparicio, or Los Belking's, and a follow-up to their self-titled debut album (VAMPI 194LP). Although lesser known than music from other nearby countries, Peru Negro's recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla. Reissued on vinyl for the first time and presented in facsimile artwork.
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NG 003LP
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$26.50
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RELEASE DATE: 3/6/2020
After Nu Guinea's album, Nuova Napoli (NG 001CD/LP, 2019), and the first Napoli Segreta compilation, NG Records follows up with an exploration into the unknown groovy side of Naples by releasing Napoli Segreta Volume 2. Famiglia Discocristiana, DNApoli, and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing nine mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius. But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town... oh, and also forget about Google maps. Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out. Napoli Segreta Volume 2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, Afrobeat, and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavor, and also some unexpected covers. Features Antonio Sorrentino, Tonica & Dominante, Gibo & Pummarola Band, Ara Macao, Tony Verde, Maria Kelly, Bernardino, Armando Cusopoli, and Tony Iglio.
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LP
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JRLP 071LP
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$19.50
PREORDER
RELEASE DATE: 3/6/2020
LP version. Tommy McCook was not only a founding member of the legendary Jamaican ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of jazz, R&B, and in fact, most music styles would always add another layer to any song put his way. This made him the go-to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes. Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his jazz technique and, upon his return to Jamaica in 1962, began working Coxsone Dodd's Studio One and became involved in the development of ska. His knowledge of jazz, R&B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (trombone), Roland Alphonso (tenor saxophone), Jackie Mitoo (piano), Lloyd Brevett (bass), Lloyd Knibbs (drums), alongside Tommy himself on tenor saxophone. The group would back all the major ska vocalists of the day and would also go on to cut a catalog of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid's Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (guitar), Neville Hinds and Winston Wright (organ), Gladstone "Gladdy" Anderson (piano), Hugh Malcolm and Arkland "Drumbago" Parks (drums), Clifton "Jackie" Jackson (bass), and Tommy and Hernon Marquis (saxophone). The more laidback sounds from 1966-1968 would be given the name rocksteady of which, again, McCook was at the forefront. Top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound. Jamaican Recordings have compiled a great selection of rhythms that feature McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horn players.
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CD
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JRCD 071CD
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$12.50
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RELEASE DATE: 3/6/2020
Tommy McCook was not only a founding member of the legendary Jamaican ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of jazz, R&B, and in fact, most music styles would always add another layer to any song put his way. This made him the go-to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes. Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his jazz technique and, upon his return to Jamaica in 1962, began working Coxsone Dodd's Studio One and became involved in the development of ska. His knowledge of jazz, R&B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (trombone), Roland Alphonso (tenor saxophone), Jackie Mitoo (piano), Lloyd Brevett (bass), Lloyd Knibbs (drums), alongside Tommy himself on tenor saxophone. The group would back all the major ska vocalists of the day and would also go on to cut a catalog of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid's Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (guitar), Neville Hinds and Winston Wright (organ), Gladstone "Gladdy" Anderson (piano), Hugh Malcolm and Arkland "Drumbago" Parks (drums), Clifton "Jackie" Jackson (bass), and Tommy and Hernon Marquis (saxophone). The more laidback sounds from 1966-1968 would be given the name rocksteady of which, again, McCook was at the forefront. Top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound. Jamaican Recordings have compiled a great selection of rhythms that feature McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horn players.
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CD
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GB 088CD
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$15.50
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RELEASE DATE: 2/28/2020
Acclaimed London-based sonic explorer Seb Rochford unleashes a startling new band and debut album. The frontier where doom rhythms rub against haunted saxophone atmospherics. A four-time Mercury Prize nominee (Polar Bear, Sons of Kemet, Basquiat Strings) Pulled By Magnets is Seb's most sublime and provocative musical statement to date. From the off, it sounds unlike anything the Scots-born, London-based, desert-loving drummer of Anglo-Indian and English/Irish heritage has done before. Gone are the quizzical, music-hall-at-the-end-of-the-world stylings of Polar Bear, to be replaced by a soundtrack of the mind that is, by turns, sublime, stately and provocative. Rose Golden Doorways was recorded in The Old Church in Stoke Newington, London and features, in addition to Rochford, Polar Bear comrade Pete Wareham on saxophone and Neil Charles (Zed-U, Empirical) on bass guitar. Even with the help of the church, you'll wonder how the three of them managed to make the sound they do, especially when you learn that the album is a series of live takes, with no added studio woo. In his own words, Seb wanted "an overwhelming, big sound", one partly informed by his interest in the musical beyond of his grindcore/death/heavy roots. But there's another tradition at work here, the fruit of recent travels and musical study in India, the country of his mother's birth. He wanted to bring to this band the experiments with pacing and time found in the classical Indian raag -- something that, happily, Neil seemed to understand instinctively. Along with that was some intensive reading of ancient Indian and Bedouin texts, and it's a sense of the ancient that permeates the record more than anything else -- most clearly, to these ears, in "Breath That Sparks" as it resolves into the frankly terrifying "Those Among Us". There's huge scale involved here -- a sense of space, of geology, of tectonic plates shifting, like a piece of sonic Land Art wrought by Pete's titanic sax and eased (or hammered) into place by Seb's drums. For all that, this is a deeply personal, perhaps even intimate record, sound-tracking as it does Seb's own post-everything musical re-set, while the process of creation, which involves him singing the music to himself before writing it down on the piano, is a remarkably tender one for a record of this size.
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LP
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WLV 82139LP
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$17.50
PREORDER
RELEASE DATE: 2/28/2020
Wax Love presents a reissue of Yma Sumac's Mambo!, originally released in 1954 on Capitol Records. Mambo! was the fifth studio album by Peruvian soprano Yma Sumac. Most of the tracks were composed by her husband Moisés Vivanco.
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LP
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GB 088LP
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$23.50
PREORDER
RELEASE DATE: 2/28/2020
LP version. 180 gram vinyl; includes download code. Acclaimed London-based sonic explorer Seb Rochford unleashes a startling new band and debut album. The frontier where doom rhythms rub against haunted saxophone atmospherics. A four-time Mercury Prize nominee (Polar Bear, Sons of Kemet, Basquiat Strings) Pulled By Magnets is Seb's most sublime and provocative musical statement to date. From the off, it sounds unlike anything the Scots-born, London-based, desert-loving drummer of Anglo-Indian and English/Irish heritage has done before. Gone are the quizzical, music-hall-at-the-end-of-the-world stylings of Polar Bear, to be replaced by a soundtrack of the mind that is, by turns, sublime, stately and provocative. Rose Golden Doorways was recorded in The Old Church in Stoke Newington, London and features, in addition to Rochford, Polar Bear comrade Pete Wareham on saxophone and Neil Charles (Zed-U, Empirical) on bass guitar. Even with the help of the church, you'll wonder how the three of them managed to make the sound they do, especially when you learn that the album is a series of live takes, with no added studio woo. In his own words, Seb wanted "an overwhelming, big sound", one partly informed by his interest in the musical beyond of his grindcore/death/heavy roots. But there's another tradition at work here, the fruit of recent travels and musical study in India, the country of his mother's birth. He wanted to bring to this band the experiments with pacing and time found in the classical Indian raag -- something that, happily, Neil seemed to understand instinctively. Along with that was some intensive reading of ancient Indian and Bedouin texts, and it's a sense of the ancient that permeates the record more than anything else -- most clearly, to these ears, in "Breath That Sparks" as it resolves into the frankly terrifying "Those Among Us". There's huge scale involved here -- a sense of space, of geology, of tectonic plates shifting, like a piece of sonic Land Art wrought by Pete's titanic sax and eased (or hammered) into place by Seb's drums. For all that, this is a deeply personal, perhaps even intimate record, sound-tracking as it does Seb's own post-everything musical re-set, while the process of creation, which involves him singing the music to himself before writing it down on the piano, is a remarkably tender one for a record of this size.
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CD
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OTCR 008CD
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$14.50
PREORDER
RELEASE DATE: 2/21/2020
Collocutor enter a new decade with the timeless, introspective Continuation. Continuation is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (AKA Tamar Collocutor) is channeled and explored by Collocutor. The band's third album assuredly strides forward following the critical acclaim awarded to The Search from 2017 from the likes of The Wire, Vinyl Factory, and Gilles Peterson. Continuation is an album about coping with grief and loss/bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep "normal" life going, the need to sometimes put a pause button on the world/existence and let the waves of feelings crash and roll, sudden anger and confusion, finally to moving (perhaps with uncertainty) forward. Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for Continuation. The modified line-up creates space for the musicians to express themselves through the shadows of Continuation's movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks "Lost & Found" and in particular the album's title track, "Continuation" (the only piece with three horns), hark back to the intricate arrangements of The Search. It's a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling. In listening truly Continuation bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.
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LP
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HC 065LP
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$25.50
PREORDER
RELEASE DATE: 2/21/2020
Hot Casa present a reissue of K. Fimpong & Super Complex Sounds' Ahyewa Special, originally released in 1975. Essential highlife and Afro funk from Ghana! The legendary K. Fimpong's fantastic rare second album recorded in 1975 at Ghana Films Studios. K. Frimpong was born on July 22nd, 1939 at Ofoase in the Ashanti-Akim district and entered music right after elementary school by joining Star de Republic. Later he was in Oko's band after which he went to K. Gyasy's band where he worked for more than six years. As a prolific songwriter and singer, here's the reissue of his second album, a modern fusion of highlife and the traditional beat called "Ahyewa". The excellent background is given by the Super Complex Sounds band which makes the Ahyewa beat abundantly, danceable, and colorful. Originally produced on the Ofo Bros label led by the Ofori brothers in Kumasi, these two side-long recordings were divided into six themes per side on the original release, each delivering a deep, 16-minute long hi-life trance. A must have vinyl of percussive Afro funk and modern highlife for all the music connoisseurs. Fully licensed by the Alhadji Kwame Frimpong Family.Remastered by Frank Merritt at The Carvery Pressed on Replika format.
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LP
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OTCR 008LP
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$22.00
PREORDER
RELEASE DATE: 2/21/2020
LP version. Collocutor enter a new decade with the timeless, introspective Continuation. Continuation is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (AKA Tamar Collocutor) is channeled and explored by Collocutor. The band's third album assuredly strides forward following the critical acclaim awarded to The Search from 2017 from the likes of The Wire, Vinyl Factory, and Gilles Peterson. Continuation is an album about coping with grief and loss/bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep "normal" life going, the need to sometimes put a pause button on the world/existence and let the waves of feelings crash and roll, sudden anger and confusion, finally to moving (perhaps with uncertainty) forward. Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for Continuation. The modified line-up creates space for the musicians to express themselves through the shadows of Continuation's movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks "Lost & Found" and in particular the album's title track, "Continuation" (the only piece with three horns), hark back to the intricate arrangements of The Search. It's a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling. In listening truly Continuation bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.
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AR 029LP
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$23.00
PREORDER
RELEASE DATE: 2/21/2020
2013 release. Anyone familiar with Mop Mop will already know that their refined style has already lend them a unique place somewhere between the worlds of jazz, funk, Latin, and the Italian postmodern style allowed the band to achieve the International film business as part of Woody Allen's To Rome With Love (2013) movie soundtrack. But with this latest LP, Isle Of Magic, Mop Mop digs even deeper to bring us one of their most engaging and organic records yet. Mop Mop's fourth studio album has come together over the course of a couple of years where producer Andrea Benini has been searching for new directions with the band. Collaborations in the album include funk legend Fred Wesley, Trinidad-born poet/singer Anthony Joseph, and Finnish-Egyptian vocalist Sara Sayed. Over fifteen musicians were involved during the production of the album including Andrea Benini's co-arranger Alex Trebo on piano, Pasquale Mirra on vibraphone and marimba, Guglielmo Pagnozzi on clarinet and flute, Johannes Schleiermacher (Bajka, Radio Citizen, Woima Collective) on baritone sax, Lorenzo Ternelli and Salvatore Lauriola on bass, and Danilo Mineo on percussions, just to name a few. Isle Of Magic contains 13 tracks of pure Voodoo jazz, Caribbean flavors, Afro-funk, exotic rhythms, and soul music. The album has been recorded between Germany and Italy with the use of vintage analog equipment to achieve a sound with all the "warm" qualities of vintage analog tape recordings; sessions have been recorded during the period March/August 2011. Isle Of Magic is an imaginary land populated by musicians who spend their time fishing, cooking, playing, and practicing Voodoo rites at night. The whole album represents the soundtrack of this imaginary life. 180 gram vinyl; includes download code.
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2CD
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DBCD 051CD
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$21.00
PREORDER
RELEASE DATE: 2/21/2020
"Debut CD release of the popular Sonia Pottinger-produced long-player showcasing the island's biggest reggae hits of 1977, performed by some of Kingston's finest talents. The original 10-track album is further bolstered by an additional 34 bonus tracks from the celebrated producer's catalogue, all of which first saw issue in Jamaica from the same year as the LP's release or the 12 months that preceded it. Included are many of the finest roots reggae recordings ever to see issue, performed by some of the greats of the era, backed by leading session crews, the Revolutionaries and the Soul Syndicate. Of the 44 tracks, 39 have been unavailable on any format since the Seventies, with the remaining five tracks unissued since the 1990s."
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2CD
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DBCD 050CD
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$21.00
PREORDER
RELEASE DATE: 2/21/2020
"The dawning of the rock steady sound, late in 1966, eliminated the need for record producers to employ horn sections, a consequence of which was to significantly reduce studio costs. The development enabled a new generation of young, dynamic music makers to make a mark upon Jamaica's recording industry and of these, few proved more successful or influential than Clancy Eccles. By the late Sixties, Eccles had become firmly established as one of the island's premiere producers, having been a pivotal figure in the development of reggae during the latter half of 1968. The following year he scored his biggest hit, the rambunctious 'Fattie Fattie', which sold in huge amounts both at home and the UK, where a chart placing for the disc was only denied by the lack of recognition of sales from Jamaican music retailers. The single's popularity prompted Trojan Records to issue Eccles's debut long-player, Freedom, which gathered the best of his self-produced recordings as a singer. The album's release coincided with a second LP of his work that showcased his most recent instrumental productions with top session crew, the Dynamites, along with a trio of tracks featuring pioneering DJ toaster, King Stitt, whose ground-breaking hit, 'Fire Corner', provided the collection's title. Both of these seminal boss reggae sets feature on this essential 2CD compilation, which is further enhanced by 13 additional vocal sides from the late Sixties along with the remaining recorded works of both King Stitt and the Dynamites, from 1969: the year reggae went outernational."
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LP
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PRTL 003LP
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$25.00
PREORDER
RELEASE DATE: 2/14/2020
Partial Records reissue Tena Stelin & Centry's Sun & Moon, originally released in 1992. Classic UK vocal and dub LP. This was the first album from the Conscious Sounds label which features UK-based singer Tena Stelin and the then in-house Conscious Sounds group of Nigel Lake, Chris Petter, and Dougie Wardrop. Presented in a showcase, with the vocal followed by dub version. The original pressing is long-deleted. Edition of 500.
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