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AR 187LP
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$28.00
PREORDER
RELEASE DATE: 6/19/2026
Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London. This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording. Recorded in South London, the album captures a band deeply attuned to one another. Drummer Thomas Broda and percussionist Jim Le Mesurier play together in the same room, shaping a physical pulse that runs through the record. Long-standing collaborators Regis Damasceno on bass and Caetano Malta on guitar bring depth and precision, while UK jazz trombonist Rosie Turton adds expressive lift throughout. The arrangements remain open and responsive, with space, feel, and attention guiding each track forward rather than click tracks or studio polish. Lead track "Egum Eô" is a wonderfully Afro-Brazilian opening and sets the scene perfectly with MOMO.'s vocal sounding much like the album's title Tum Tum Tum, pushing the positivity sky-high in unison with a gorgeous horn hook. The broken groove slowly rolls in like a curling surf-perfect wave before the band all join the jam, leaving the listener joyfully entranced. Guest appearances from Brazilian MPB legend Marcos Valle and Smoke City's Nina Miranda speak to a body of work shaped through enduring artistic relationships. MOMO.'s connection with Valle goes back several years, to his time with former band Fino Coletivo and a live recording in Rio de Janeiro. With Nina Miranda, a London-based friendship and creative partnership that grew over years of performance together finds its recorded form in "Canto de Aldeia," a track that, in MOMO.'s words, "celebrates our friendship.". Miranda sings in English in an almost Jacqui McShee style, evoking real nostalgia against the band's steady rhythm and dreamy strings. Tum Tum Tum feels assured and alive, music shaped by travel, time and accumulated experience. It carries the confidence of an artist who understands that continuity is its own form of strength. Twenty years and eight albums in, MOMO. continues forward with clarity and intent.
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AR 181LP
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$28.00
PREORDER
RELEASE DATE: 5/8/2026
Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since. In 2013, he started his own radio show Oonops Drops, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, Oonops finally founded his own sustainable music label bearing the eponymous name. Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favorites and rare gems discovered through his extensive community of like-minded collaborators. Featuring Lamp, Nautilus, Nova70, 45trio, Kazumi Kaneda, Kutiman, Hover, Pat Van Dyke, Emapea, HF International, ShinSight Trio, Groove Train, Golden Throat Note, and Mariko Nakabayashi.
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AR 179LP
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Grooving, evocative, richly diverse, and truth seeking. Black Jesus eXperience's Time Telling explores the fragility of life, the preciousness of time and the importance of hope, love, joy, and community. Time Telling's cover is a detail from celebrated artist Julie Mehretu's 2001 artwork eye of (Thoth). BJX is absolutely jammed to have Julie share her creativity with the extended family of musical artists that is Black Jesus eXperience.
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AR 167LP
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Born in 1947 in the vibrant port city of Sekondi-Takoradi in western Ghana, Gyedu-Blay Ambolley's musical journey began with early influences from his father's military band flute playing and local highlife music. Ambolley's significance in the music world extends far beyond Ghana's borders. He is credited as the first musician from Ghana, and indeed the world, to formally incorporate rap forms into local highlife rhythms, creating a unique genre called Simigwa. Throughout his career, Ambolley has demonstrated a remarkable ability to blend diverse musical influences. His sound incorporates elements of traditional Ghanaian rhythms, American jazz, funk, and soul, creating a rich tapestry of musical expression. During his time working with Agogo Records since 2017, Ambolley has continued to push boundaries and explore new musical territories.
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AR 171LP
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LP version. A journey -- that's how musicians like to describe working on a new album. In the case of krajenski.'s new LP B-3 Vol. 2 it really was a journey. Many ideas were born and discarded, several sessions were played for inspiration, plenty of songs were produced in advance -- the journey is the journey. Then the decisive missing link: krajenski. was able to find the two musicians and producers Dirk Berger (Peter Fox, Seed, Marteria) and Samon Kawamura (Joy Denalane, Max Herre, Till Brönner) for this project. And suddenly the production took a completely different magical turn -- away from a "band album" towards a musical experiment. These three musicians locked themselves up in a studio for two days, let the inspiration flow and recorded everything that happened spontaneously and unplanned. The nucleus can be a small, melodic phrase, a beat or simply a sound from the Hammond organ. The tracks, some of which last ten minutes, were then reduced to their essence and refined with great care and diligence and finally produced -- without changing the original DNA of the material. As there were basically no musical guidelines, the songs have a wide range of styles -- from groovy-funky to atmospheric to boogaloo, bossa nova and Latin. The common thread, however, is always the wonderfully diverse sound of the Hammond organ. But B-3 Vol.2 is not just an instrumental album: Nené Vàsquez from Mo' Horizons recites a hymn to the most legendary of all Hammond organs and MOORE, a rising star from Italy, enhances two further tracks with his voice.
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AR 169LP
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Sonic Interventions is a diaspora-futuristic band of interdisciplinary artists from five continents. Emerging in 2020 from the transcultural Berlin Jazz scene, the group unites diverse languages, instruments, rhythms and dance for collective meditation and healing, improvisation and groove. Since then, the band has established itself as one of Berlin's most acclaimed underground jazz collectives. Known for inclusive live spectacles, in which moments of meditation and trance rise into heavy grooves, traditional rhythms of the African and Latin American continents coalesce with urban styles such as hip hop, trap, and house. The band combines poetry and dance inspired by the cosmos, ancient alchemy and world mythologies. For fans of Sun Ra Arkestra, Fela Kuti, Alice Coltrane, Parliament-Funkadelic, Embryo, Makaya McCraven, Gil Scott Heron, Bab L' Bluz, Mestizo, Shabaka Hutchings, Balimaya.
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AR 171CD
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A journey -- that's how musicians like to describe working on a new album. In the case of krajenski.'s new LP B-3 Vol. 2 it really was a journey. Many ideas were born and discarded, several sessions were played for inspiration, plenty of songs were produced in advance -- the journey is the journey. Then the decisive missing link: krajenski. was able to find the two musicians and producers Dirk Berger (Peter Fox, Seed, Marteria) and Samon Kawamura (Joy Denalane, Max Herre, Till Brönner) for this project. And suddenly the production took a completely different magical turn -- away from a "band album" towards a musical experiment. These three musicians locked themselves up in a studio for two days, let the inspiration flow and recorded everything that happened spontaneously and unplanned. The nucleus can be a small, melodic phrase, a beat or simply a sound from the Hammond organ. The tracks, some of which last ten minutes, were then reduced to their essence and refined with great care and diligence and finally produced -- without changing the original DNA of the material. As there were basically no musical guidelines, the songs have a wide range of styles -- from groovy-funky to atmospheric to boogaloo, bossa nova and Latin. The common thread, however, is always the wonderfully diverse sound of the Hammond organ. But B-3 Vol.2 is not just an instrumental album: Nené Vàsquez from Mo' Horizons recites a hymn to the most legendary of all Hammond organs and MOORE, a rising star from Italy, enhances two further tracks with his voice.
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AR 165LP
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LP version. Brazilian hip-hop, with a golden-era glint and a 20-strong cast is given fresh impetus on Ela Partiu, 24-year-old rapper Laiz's breakout recording on Agogo Records. Glowing with pan-African collaborations, and rooted in Laiz's love and appreciation of magical realism, tropicália and Brazilian music old and new -- think Tom Zé and Marcelo D2 -- Ela Partiu features Sudanese trap-rapper Zeyo Mann, Ghanian percussionist and singer Eric Owusu (Jembaa Groove, Pat Thomas) and produced by young.vishnu and Pachakuti, from the up and coming crew, and Laiz's label mates, The New Love Experience. Lyrically ruminating on emigration, the songs are drawn from Laiz's experiences, some complex, since leaving her Sao Paulo home at just 14 years old, going to the States, and relocating to Germany in 2018 as well as those experiences of the international guest musicians, many who are global south artists, emigrants, who call Germany their home. The recording was brought to life in Laiz's relaxed city of Hildesheim in 2023. In Portuguese, "Ela Partiu" is the name of a classic Tim Maia track, the '70s tortured soul-boy from Brazil, one of Laiz's heroes. It also translates to "she has gone" referring to Laiz's early-life decision to leave her family home. There's little doubt Ela Partiu offers new bridges between tropicalia, Brazilian MPB and hip hop, lighting up Brazilian musical traditions in similar ways that Marcelo D2 or Criolo attempted. Its joyful, yet poses serious questions, and with a highly talented group of emigrant musicians from every corner of the globe, it's so much more than a Brazilian record, brought to life by a talent and traveler who thrives on the off-beat path, and is clearly still finding her way.
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AR 165CD
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Brazilian hip-hop, with a golden-era glint and a 20-strong cast is given fresh impetus on Ela Partiu, 24-year-old rapper Laiz's breakout recording on Agogo Records. Glowing with pan-African collaborations, and rooted in Laiz's love and appreciation of magical realism, tropicália and Brazilian music old and new -- think Tom Zé and Marcelo D2 -- Ela Partiu features Sudanese trap-rapper Zeyo Mann, Ghanian percussionist and singer Eric Owusu (Jembaa Groove, Pat Thomas) and produced by young.vishnu and Pachakuti, from the up and coming crew, and Laiz's label mates, The New Love Experience. Lyrically ruminating on emigration, the songs are drawn from Laiz's experiences, some complex, since leaving her Sao Paulo home at just 14 years old, going to the States, and relocating to Germany in 2018 as well as those experiences of the international guest musicians, many who are global south artists, emigrants, who call Germany their home. The recording was brought to life in Laiz's relaxed city of Hildesheim in 2023. In Portuguese, "Ela Partiu" is the name of a classic Tim Maia track, the '70s tortured soul-boy from Brazil, one of Laiz's heroes. It also translates to "she has gone" referring to Laiz's early-life decision to leave her family home. There's little doubt Ela Partiu offers new bridges between tropicalia, Brazilian MPB and hip hop, lighting up Brazilian musical traditions in similar ways that Marcelo D2 or Criolo attempted. Its joyful, yet poses serious questions, and with a highly talented group of emigrant musicians from every corner of the globe, it's so much more than a Brazilian record, brought to life by a talent and traveler who thrives on the off-beat path, and is clearly still finding her way.
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AR 163LP
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LP version. Rich in ancestral flows, between Ghana and Europe, powered by deep, conga led rhythms and seductive warm horn riffs come Jembaa Groove, whose new album and newly rendered sound, shows that jazz, in its contemporary, soulful form is not just a London "ting." "Highlife" is Ghana's colorful national tradition and is at the heart of Berlin based Jembaa Groove's groove. And this newly crafted follow up to their debut album Susuma (AR 155CD) from 2022, goes even further in provoking new perceptions of jazz and soul music helped by young and senior blood from Ghana and its diaspora. Vocal masterclasses come via Sheffield (UK) based K.O.G and original veteran of the '70s and '80s highlife scene Gyedu Blay Ambolley with Ghanian multi-instrumentalist and producer Kwame Yeboah (Kwashibu Area Band) also providing inspiration. Yet this is not a breakout moment. For the last two years, Jembaa Groove have been entertaining discerning dancefloors worldwide. They continue to ratchet up a solid and loyal fanbase buoyed by breakout performances at SXSW (USA), ESNS and Supersonic Jazz Festival (Netherlands).
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AR 163CD
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Rich in ancestral flows, between Ghana and Europe, powered by deep, conga led rhythms and seductive warm horn riffs come Jembaa Groove, whose new album and newly rendered sound, shows that jazz, in its contemporary, soulful form is not just a London "ting." "Highlife" is Ghana's colorful national tradition and is at the heart of Berlin based Jembaa Groove's groove. And this newly crafted follow up to their debut album Susuma (AR 155CD) from 2022, goes even further in provoking new perceptions of jazz and soul music helped by young and senior blood from Ghana and its diaspora. Vocal masterclasses come via Sheffield (UK) based K.O.G and original veteran of the '70s and '80s highlife scene Gyedu Blay Ambolley with Ghanian multi-instrumentalist and producer Kwame Yeboah (Kwashibu Area Band) also providing inspiration. Yet this is not a breakout moment. For the last two years, Jembaa Groove have been entertaining discerning dancefloors worldwide. They continue to ratchet up a solid and loyal fanbase buoyed by breakout performances at SXSW (USA), ESNS and Supersonic Jazz Festival (Netherlands).
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AR 161LP
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LP version. Social Limbo is the new album by Opez. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies, Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy. In the limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in "Male Nostrum," the mysterious love in "Venice," the social raids in "Social Roll," the dust and the silence in "Limbo" are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra). Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.
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AR 161CD
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Social Limbo is the new album by Opez. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies, Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy. In the limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in "Male Nostrum," the mysterious love in "Venice," the social raids in "Social Roll," the dust and the silence in "Limbo" are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra). Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.
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AR 159CD
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Mo' Horizons enter their seventh album chapter and celebrate 25 years of their exultant and globally enriched, forward-thinking, electronic sound. Featuring a cast of guest singers, including Ghanaian legend Gyedu-Blay Ambolley, Mango is a fiery and sample-heavy blend of future-funk, balearic, highlife, Brazilian drum 'n bass and lo-fi hip hop, set to be released on their long-standing label Agogo Records. Familiar and warming sounds pervade Mango; the call of the Brazilian cuica, the snapping snares, rolling breakbeats, swooning sax licks, and dreamy beach vibrations. Yet there are brand new tricks; on "Havanna B-Boys" Arthur Lee's gravelly voice is sampled whilst a frenetic funk-ridden groove pulses, and the mesmeric vocal samples from Anglo-Portuguese singer Guida de Palma feature on opener "Anotha Bossa." Both shine as the album's singles. Outside Ambolley's contribution, further collabs sees Mo' Horizons reconnect with Venezuelan percussionist Nené Vásquez, Colombian singer Ivan Camelo, Hannover based, Israeli singer Noam Bar Azulay, and Spanish singer Laura Insausti. Spanning over three decades, German DJ and production duo Mo' Horizons, led by Ralf Droesemeyer and Mark Wetzler have been a relentless force on the global groove scene. For 25 years, the pair have continued to grow their international audiences, testament to remaining on-point, ignoring the fashion and tribalism of scenes like big beat and broken beat, that thrived but then morphed and went off radar. Also featuring The Maasai Tribe Of Tanzania.
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AR 159LP
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LP version. Mo' Horizons enter their seventh album chapter and celebrate 25 years of their exultant and globally enriched, forward-thinking, electronic sound. Featuring a cast of guest singers, including Ghanaian legend Gyedu-Blay Ambolley, Mango is a fiery and sample-heavy blend of future-funk, balearic, highlife, Brazilian drum 'n bass and lo-fi hip hop, set to be released on their long-standing label Agogo Records. Familiar and warming sounds pervade Mango; the call of the Brazilian cuica, the snapping snares, rolling breakbeats, swooning sax licks, and dreamy beach vibrations. Yet there are brand new tricks; on "Havanna B-Boys" Arthur Lee's gravelly voice is sampled whilst a frenetic funk-ridden groove pulses, and the mesmeric vocal samples from Anglo-Portuguese singer Guida de Palma feature on opener "Anotha Bossa." Both shine as the album's singles. Outside Ambolley's contribution, further collabs sees Mo' Horizons reconnect with Venezuelan percussionist Nené Vásquez, Colombian singer Ivan Camelo, Hannover based, Israeli singer Noam Bar Azulay, and Spanish singer Laura Insausti. Spanning over three decades, German DJ and production duo Mo' Horizons, led by Ralf Droesemeyer and Mark Wetzler have been a relentless force on the global groove scene. For 25 years, the pair have continued to grow their international audiences, testament to remaining on-point, ignoring the fashion and tribalism of scenes like big beat and broken beat, that thrived but then morphed and went off radar. Also featuring The Maasai Tribe Of Tanzania.
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AR 139CD
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Gyedu-Blay Ambolley is revered as the Simigwahene in Ghana, the king of Simigwa-highlife. Because of his deep, soulful, and funky highlife sound, he is also sometimes referred to as the "James Brown of Ghana". And not without reason. His blend of highlife, funk, jazz, soul, and proto-rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played in the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful highlife sound he called "Simigwa-Do". Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and "musical-life-force" has more than 30 music albums to his credit. On his new album Gyedu-Blay Ambolley And Hi-Life Jazz you can hear his versions of some classic jazz tunes like "Round Midnite", "Love Supreme", "Footprints", and "All Blues" as well as some new compositions by the Simigwa-man himself. For fans of: Ebo Taylor, Orlando Julius, Dele Sosimi, Wayne Shorter, Herbie Hancock.
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2LP
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AR 149LP
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LP version. Good Evening Black Buddha is Black Jesus eXperience's seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes Good Evening Black Buddha, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience's inspiration is Ethiopian/Australian singer Enushu Taye. Enushu's openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of Good Evening Black Buddha and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) complements and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends, powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on Good Evening Black Buddha rove from the lightness of touch of a trio to BJX's full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister on guitar, Larry Crestani on guitar and his own invention "kraartar", over the deep grooves of Richard Rose on bass, James Davies on kit, and Kahan Harper on percussion. Black Jesus eXperience is also proud to be joined by conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.
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AR 149CD
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Good Evening Black Buddha is Black Jesus eXperience's seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes Good Evening Black Buddha, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience's inspiration is Ethiopian/Australian singer Enushu Taye. Enushu's openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of Good Evening Black Buddha and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) complements and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends, powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on Good Evening Black Buddha rove from the lightness of touch of a trio to BJX's full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister on guitar, Larry Crestani on guitar and his own invention "kraartar", over the deep grooves of Richard Rose on bass, James Davies on kit, and Kahan Harper on percussion. Black Jesus eXperience is also proud to be joined by conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.
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2LP
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AR 139LP
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Double LP version. Gyedu-Blay Ambolley is revered as the Simigwahene in Ghana, the king of Simigwa-highlife. Because of his deep, soulful, and funky highlife sound, he is also sometimes referred to as the "James Brown of Ghana". And not without reason. His blend of highlife, funk, jazz, soul, and proto-rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played in the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful highlife sound he called "Simigwa-Do". Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and "musical-life-force" has more than 30 music albums to his credit. On his new album Gyedu-Blay Ambolley And Hi-Life Jazz you can hear his versions of some classic jazz tunes like "Round Midnite", "Love Supreme", "Footprints", and "All Blues" as well as some new compositions by the Simigwa-man himself. For fans of: Ebo Taylor, Orlando Julius, Dele Sosimi, Wayne Shorter, Herbie Hancock.
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AR 157CD
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An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
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AR 157LP
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LP version. An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
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AR 153LP
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The second collaboration between the Berlin based groove-outfit Onom Agemo and the Malian guitarist, singer, and songwriter Ahmed Ag Kaedy. After the successful release of their first project, a 7" single titled Onin Okalan in 2017, they are now presenting a full album which they recorded in Berlin and Bamako between 2018 and 2020. The title Tartit roughly translates to unity, as it unifies not only funk psychedelica with desert blues, but also unites musicians whose backgrounds are as different as can be, but whose musical tastes are surprisingly in tune. Music and lyrics written by Ahmed Ag Kaedy, arranged by Onom Agemo and the Disco Jumpers. Credits: Ahmed Ag Kaedy - guitar, vocals, composition; Johannes Schleiermacher - sax, flute, synthesizers; Kalle Zeier - guitar; Jörg Hochapfel - organ, synthesizers; Kalle Enkelmann - bass; Mahalmadane Traore - drums (Medin, Tanakra, Kidal); Bernd Oezsevim - drums (At Oui Tass, Alghafiat, Mani Mani). Produced, recorded and mixed by Kalle Enkelmann and Johannes Schleiermacher except "Alghafiat": recorded and mixed by Milan Marti. Mastered by Kelly Hibbert.
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AR 155LP
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LP version. Includes download card. Fresh Afro-soul music -- Ghana's highlife going by the heartbeat of '70s soul music. Jembaa Groove is a multicultural band founded in late 2020 by bass player and composer Yannick Nolting, and singer-percussionist Eric Owusu. Speaking the same musical language, they quickly realized the fruitful outcome of their musical encounter and decided to spend a couple of months composing their original music. Digging deep into both their backgrounds and musical identities, they came up with an organic result both like to label as Afro-soul. After seeking for the right companions for the upcoming journey and stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a seven-piece band that combines fresh sounds from Berlin's underground music scene with traditional West-African sounds from Ghana and Mali, such as highlife, Adowa, and Wassoulou. Their aesthetic vision is inspired by soul music from the '60s and '70s and avoids overly-produced commercial arrangements while merging driving bass grooves and steady drum patterns with fresh horn lines and catchy melodies. Produced by Yannick Nolting. Composed and arranged by Yannick Nolting. Vocal arrangements and lyrics by Eric Owusu.
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AR 147LP
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Manuel Volpe (Rhabdomantic Orchestra) about this album: "This album is a music novel inspired by surrealism and South American magic realism. Every instrument acts as a character in action and its narrative set is studied to give an imaginary experience during the listening. The main themes are the transformation, the spiritual awakening and the political consciousness, the sublime and the worldly. To write it I've studied lot of different music formulas from all over the world (Afrobeat, Sufí music, Balinese gamelan, Colombian corrulao, merengue, Pygmies poliphonies, contemporary... etc.) with the aim to avoid a genre-oriented music but to reach a resume, something like a universal in music."
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AR 137LP
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LP version. Includes download card. Praised as heirs of Amazonic psychedelia and chicha traditions, as well as sound innovators, Peruvian band Bareto mix exciting versions of cumbia classics with their own, unique compositions, in concerts that should be promoted as dance parties. Bareto were performers at Womex 2016, have toured Europe and North America, including Roskilde Festival 2015 and Montreal Jazz Festival 2017, among others. Recorded just before the Covid pandemic between Lima and Bogotá, El Amor No Es Para Los Débiles is Bareto's second effort with Colombian producer Felipe Álvarez. The album marks the debut of singer Javier Arias in duets with some renown Peruvian figures such as creole diva Bartola and techno cumbia queen Rossy War. The album also features sonero and comedian Melcochita and a bunch of Colombian guests, including singer María del Rosario Cardona and percussionist Chongo. The first single is "Tu Recuerdo", a song that mixes cumbia with an Andean flavor. Both their last two records of original material, Ves Lo Quequieres Ver (You See What You Want To See, 2013) and Impredecible (Impredictable, 2015), have been nominated for the Latin Grammy Awards. Line-up: Rolo Gallardo -- guitar, background vocals; Pedro Rodríguez -- guitar; Jorge Giraldo -- bass, background vocals; Jorge Olazo -- percussion; Sergio Sarria -- drums; Raffo Carlos -- keys, background vocals; Javier Arias - lead vocals.
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