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CD
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ASH 009CD
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"DIY gospel, privately emitted from Ozone Park, Brooklyn sometime in the late 1970's! Luckily for us, Rev. Samuel Dixon's Samdy label stayed in business long enough to get a few copies of this deep soul children's choir treasure into the atmosphere. Buried for 40 years, finally aloft for a new generation of homemade music fans" --Rob Sevier, Numero Group
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LP
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ASH 009LP
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LP version. "DIY gospel, privately emitted from Ozone Park, Brooklyn sometime in the late 1970's! Luckily for us, Rev. Samuel Dixon's Samdy label stayed in business long enough to get a few copies of this deep soul children's choir treasure into the atmosphere. Buried for 40 years, finally aloft for a new generation of homemade music fans" --Rob Sevier, Numero Group
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LP
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ASH 007LP
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"Roaring Lion was born Rafael Arius Cairi Llama Deleon on February 22, 1908 in Aroquita, Trinidad, an area in the northern hills of the island country. 'Cairi,' where this compilation gets its title, was another name for Trinidad in the indigenous tongue of the island. Lion, a Caribbean Creole, spent much of his early life in orphanages before being adopted by Muslim Indian parents from the migrant working class in San Fernando. This unusual upbringing and displacement greatly influenced his compositions and performances, which subsequently influenced Calypso music as a whole since Lion became such a looming figure in its popular development. Inspired by early, mostly unrecorded practitioners like King Fando and Lionel Belasco, Lion started writing and performing his own music and adaptations in the 1920's. As a composer, Lion stood out ahead of the pack with his lyrical wit and a rare ability to sight-read and draft music to paper. By helping to create the 'War'-style of Calypso in which two performers would 'battle' each other lyrically between 78rpm releases, his influence persevered into similar battles in Reggae and Hip Hop cultures decades later. By the 1930's, the period from which this music is culled, Lion became one of the first Calypso musicians to record and perform in the United States. Despite his humble beginnings, Roaring Lion's fame grew with each passing year, and he became a figurehead of Calypso as its popularity grew in the U.S. and Europe. These early recordings are a glimpse of the Lion coming into his own, showing all the swagger and bravado of a young man ready to become an international star, while also expressing the realities of working class life from the Trinidad of his youth."
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ASH 005LP
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"Welcome back for your next installment of early Hawai'ian Music recordings. For this volume, we've decided to branch outwards and allow more continental recordings as well as English sung lyrics. On this volume, you will find Hawai'ian soloist playing in more conventional jazz idioms as well as Hawai'ian vocalists working with American/European bands. This part of the series is mean to show the seamless integration of the native folk music of the islands deeper into the cultural exchange of American music genres. Bandleader and instrumentalists such as Sol Hoopi, featured here in a way to accurately represent his robust influence, became very popular and in-demand the world over. Of course, as if often the case, this sound eventually became gentrified and diluted as the original melange of traditional Hawai'ian folk, hapa haole and jazz was tempered to fit more commercial standards. Still, the sound of authentic Hawai'ian music returned to the islands where traditional artists such as slack-key genius Gabby Pahinui and traditional songstress Genoa Keawe kept the spirit of true Hawai'ian music alive after the Post-War era to this day. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance."
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ASH 003LP
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"These rare recordings are some of the first ever featuring traditional African music played on western instruments. This cultural exchange led to completely new genres in music, most importantly, Highlife. Kumasi is a Gold Coast city in Ghana, West Africa, that, at the time, did not feature much more than an open air market and one of the first British department stores in the continent. The Trio is made up on H.E. Biney on guitar, Kwah Kanta on percussion, and Jacob Sam on guitar, with all three contributing on vocals. The trio was brought to London to record these tracks in the Summer of 1928. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance."
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ASH 004LP
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"The music of Domingo Justus is some of the earliest known recorded in the African folk tradition. Quite interestingly, however, the music was recorded in the city of London, and Justus himself was not believed to be a resident of the African continent at the time. On the contrary, Justus was a West African transplant to Brazil, originally from Lagos, Nigeria, relocated to London. Such transplant culture was a significant component of the immigrant experience, particularly during the United Kingdom's colonial era. The music resulting from these experiences is likewise imbued with a sense of this duality and transitory way of life. In his time, specifically circa 1925-1927, Justus recorded several original and traditional songs inspired by his experiences as part of the African Diaspora, mixing his Lagosian and Yoruba folk song roots within the context of his day-to-day existence in his adopted home. He also provided backing vocals to many Ghanaian performers recording around the same time, and much of this output was recorded for the Zonophone Record label of the RCA-Victor Group. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance."
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