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Soul / Funk / Jazz
- 01.Fils du Sahel
02. Boy Cuisinier
04. Je suis un Salaud
05. Ouaga affaires
06. Mam ti fou
08. Missé issa
09. Je demande ma démission
10. Tond Yabramba
11. Yamb ney capitale(Born Bad)[engl]For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara’s dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country’s independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions. Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for “cultural authenticity” conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina’s cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l’Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi. Nicknamed “the troubadour from the bush”, Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s.
- Soul / Funk / Jazz
- Soul / Funk / Jazz
- 01. Matanbaye
06. Dabina Meka
07. Tou Tou
08. Fela Tribute
09. Dunia“The music of Africa is big sound: it's the sound of a community” Fela Kuti Es gibt Dinge, um die kommt man nicht herum, wenn man sich ernsthaft mit Musik auseinandersetzen möchte. Das eine ist Jazz und das andere der Einfluss Afrikas auf den gesamten Kosmos populärer Kultur. Fela Kuti sagte einst: "99.9% of the information you get about Africa is wrong" und ich kann nicht verhehlen, dass ich keinerlei konkrete Vorstellungen über die Menschen, welche auf diesem Kontinent leben, habe. Ich sehe Bilder im Fernsehen, welche ich nicht einordnen kann. Diese Bilder sind fast immer geprägt, von Krieg, Krankheit, Hunger und Tod. Diese Bilder sind fast immer so angelegt, dass sich unsere „westliche“ Wahrnehmung über diese Menschen erhebt. Und dann höre ich den Sound Afrikas und dieser ist so reichhaltig und fröhlich, dass er wahrlich mit diesen Bildern kollidiert und sie ad absurdum führt. Den Mitgliedern der dänischen Band Junglelyd haben diese Bilder ebenfalls nicht gereicht und so beschlossen sie, 2016, mit dem ghanaischen Musiker Atongo Zumba in deren Heimatland auf Tour zu gehen. Die Chemie, die sich nach einem Monat auf der Straße zwischen der Gruppe entwickelte, war so stark, dass daraus ein neues Projekt, eine neue Zusammenarbeit entstand.
- Soul / Funk / Jazz
- 01. Largo Pour Piano Et Océan
02. Goutte De Sang En Feu
03. Hard–Rock Ouverture
05. 7 Contre 4
06. Le Voyage Sperper
08. Mémoire Pulvérisée
09. The Playwrite’s Drift (bonus track)
10. Roots Eater Take 1 (bonus track)
11. My Guitar Is Driving Me Mad Take 2 (bonus track)
12. I Love You, Sugar Beef Take 1 (bonus track)
13. Hard–Rock Ouverture Take 1 (bonus track)[engl]First ever reissue of this impossible to find artefact from the Swiss underground avant–garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries. A unique, instrumental mix of free–jazz, classical, psych–rock, folk, improv, kraut, funk and musique concrete with tape effects... In the late 60s, musician / guitar player Christian Oestreicher, "a savage in the era of twist and free jazz", met artist and painter Richard Reimann – famous for his optical art –, at the Aurora art gallery in Geneva. Fuelled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork. Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine...He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz / rock scene to join in for the recordings: among them, Jean–François Boillat (of Boillat–Thérace), Blaise Català, Jerry Chardonnens... The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation.
- Soul / Funk / Jazz
- Soul / Funk / Jazz
- [engl] The Gunesh Ensemble was founded in 1970 in Ashkhabad, Turkmen Soviet Socialist Republic, then part of the Soviet Union. They started out as a vocal group with supporting musicians from Turkmenistan State Radio and TV. Later several young musicians came to play with them and the band's music became much more modern. The group began to play jazz-rock tightly intertwined with traditional Oriental music. With that new musical style the band participated in some popular festivals around the Soviet Union. They received various awards and became very popular. Gunesh has always been in the process of developing and was one of the first and best local jazz-groups to organically combine the principles of jazz and melodic improvisation. The remarkably beautiful arrangements and polyrhythmic compositions were always further developed thematically. This process was highly praised at the Moscow competition With A Song On Life in 1977 where the ensemble became a prize-winner. The Organizing Committee of the Festival Spring Rhythms in Tbilisi (1980) called out members Rishad Shafi as best drummer and Stanislav Morozov as best saxophonist. This, their very fine first LP was originally released in 1980 on the Soviet state label Melodyja and contains traditional Central Asian music in jazz-rock arrangements plus a Vietnamese singer. The line-up has changed many times. Around 65 musicians have been a member of the group at some point in time.
- A1. She's My Woman
A2. Get On Up
A3. First Cut
B2. Hold Me Tighter
B3. Ima Obi O
B4. Shake, Clap, Tap[engl] She Is My Woman is Murphy William?s loose, funky and spontaneous call to the dance floor. It?s an infectious collection of good-time tunes that the band seem to be enjoying as much as the listener. Williams was a stalwart of the Nigerian music scene, joining Godwin Omabuwa?s Cassanova Dandies at 17 before becoming one of the two lead vocalist of The Apostles from Aba. He was famous for his distinctive four octave voice, a voice that legendary label boss, Godwin Tabansi decided was perfectly suited to the new disco sound that was gripping Nigeria. The title track gets the party started with Felix Liberty providing the good-time guitar riffs, Friday Pozzo on congas and Sonny Enang keeping it light on keyboards. The vibe is tight and bright, breathy a breezy charm into disc-tied versions of Igbo folk songs ?Selense? and ?Ima Obi O.? The undoubted highlight of the album is ?Get On Up?, a certifiable disco classic that would slay any dance floor anywhere in the world. It?s funky, it?s fun and by the time the lyrics implore the listener to get on up and dance their feet have already been convinced by the music. Put it on and it?s guaranteed to get any party started. - Peter Moore, www.africanrevolutions.com
- A1. Baby, Wiggle That Thing (04:50)
A2. Shake What You Got (04:10)
A3. Hot Thing (04:12)
A4. Walking On Air (04:12)
B1. Black Bird (03:54)
B2. Honey Put Your Trust In Me (03:48)
B3. Let Me Taste Your Love (03:42)
B4. We'll Try Again (05:24)[engl] The late Nathaniel ?Snoopy? Dean is one of those many underrated southern soul and blues men who never reached great fame outside their home ground. His legacy is deeply treasured though by hardcore black music followers. In the late sixties he instigated the now very sought after group Third Guitar who recorded some great sides for the Rojac label out of NYC. He subsequently became a member of the Deep City Band and started recording under his own name. In the early to mid seventies Dean made five singles and an album Wiggle That Thing on Henry Stone's Blue Candle imprint which is being reissued here. The album - originally released in 1977 - contains a rare combination of deep, southern soul, funk and blues in such a way that the LP really does not fall straight in neither category. In the 80?s Snoopy Dean became a much in demand session musician as a guitarist in Miami and recorded at least two more albums that belong more in the blues and indie soul field. Unfortunately Snoopy Dean died in 1998 due to complications arising from diabetes. Still, it is this great LP Wiggle That Thing he will be always and best remembered for.
- Soul / Funk / Jazz
- A1. She's Got It Going
A2. Can't Let Go
A4. This Time We'll Win
A5. Get It On
B1. Love Is Dangerous
B2. Shake Me
B3. Party Blues
B4. We're Gonna Have Fun Tonight
B5. This Time We'll Win (Instrumental)[engl] This is the only album from The Tutt Band known to ever be recorded. The ultra rare and sought after boogie-funk LP on Spoonful Records out of Phoenix, Arizona was released in 1988, but style-wise it sounds much more like being recorded in 1983 or 1984. It contains ten very solid and good tracks - both club tunes and slow jams - that all hit the required spot. There's also some treats for all Roger Troutman and vocoder lovers. Head straight to the ultra dope tracks 'Get It On' and 'She's Got It Going'. In retrospect The Tutt Band has been one of the little known but essential groups whom created the funky and beat heavy new jack swing sound that dominated American r&b from the mid eighties and early nineties.
- Soul / Funk / Jazz
- 01. Phrase–Overdrive
04. Alles Klar (Absolution)
06. Stupsi (Ballade 1)
08. Don’t Count It
09. Relation (Ballade 2)
10. Puls.(Sommor)[engl] First ever vinyl reissue in original artwork of this fabulous kraut, jazz–funk / fusion / rare grove / library album from 1972, originally released on the budget Tempo label from Germany. Lots of fuzzy distorted organ & Fender Rhodes courtesy of Kristian Schultze (pre–Passport) plus the mighty Pawel Jazerbski on bass and Joe Nay (Tete Montoliu, Roland Klirk, Blue Note Club...) on drums.
- 01. Parka
02. Mutlaka Yavrum
03. Beni Siz Delirttiniz
04. Mehmet’e Agit
06. Üryan Geldim
07. Tamirci Çiragi
10. Bu Son Olun
12. Üzüm Kaldi[engl] "PARKA" was the fourth album by Turkish legend CEM KARACA, originally released in 1977 and which was a compilation of singles released in Turkey between 1969 and 1976, featuring Dervisan, Kardaslar, Apaslar and Mogollar. You can expect the usual dose of powerful and deep vocals by Karaca backed by great Anatolian arrangements.
- 01. Sangre Gitana – Yo Me Siento Muy Feliz
02. Rumba Tres – Y No Te Quedan Lágrimas
03. Los Gachós – Estrella
04. Tobago – Oye Chiquilla
05. La Marelu – Mala
06. Barracuda – Puedes Buscarte Un Nuevo Amor
07. Rumba Tres – Ahora Qué
08. Juan Bautista – En Cartagena
09. Las Deblas – Tani
10. Rumba Tres – Ya Estoy Parao
11. El Turronero – Yo Soy Nube Pasajera 12. Sangre Gitana – Esta Noche Te Perdí.[engl] he Disco Music, Philadelphia Sound and Salsoul fever were also present in the Rumba–Pop and Flamenco–Funk scene of Spain in the late ’70s / early ’80s. Producers, sound engineers and studio musicians collaborated closely with flamenco / rumba singers and bands. Among others, we got to highlight the production / studio work that genius Josep Llobell did for the Belter label in Barcelona. Here you got 12 disco–rumba–flamenco–boogie bombs, a time machine to the boites and discotheques of the late 70s and the perfect soundtrack to an imaginary "Kinki" cinema soundtrack.
- 01. Rumba Tres – Rumbita, Tru, La, La
02. Dolores Vargas "La Terremoto" – A La Pelota
03. Rosa Morena – Quiero Café
04. Lola Flores – La Bomba Gitana
05. Chango – Kikilibú
06. El Noi – Zorongo Rock
07. Los Candelos – Te Estoy Amando Locamente
08. Lola Flores y Antonio González – Muchacho Barrigón
09. Teresiya – El Perro de San Roque – 10. El Principe Gitano – ¡Ay Amor! (Jazz Gitano)
11. Los Candelos – Bailen Mi Rumbita
12. Chango – El Guapo
13. La Marelu – Mora Cantaora
14. Dolores Abril – Triniá.[engl] From the archives of the legendary BELTER and DISCOPHON labels, essential to understand the birth of the Catalan Rumba and Flamenco–Pop genre in Spain, we’ve selected 14 dance–friendly tracks taken from overlooked LPs and 45s. This is the real gipsy–funk sound, full of screaming flamenco vocals, funk drums, electric guitars, wah–wah, organ, electric bass, exotic percussions, soulish horns, latin and even oriental touches...
- [engl]While in 1963 Beat and Rock'n'Roll ruled the charts and airwaves at full throttle, there still was a scene for more gentle and lightweight music out there to get you into a joyful mood right when you put the vinyl onto your turntable. Swinging jazz and latin dance music of the popular kind combined as a force of light if you want to say so. And grand master Stan Getz, a very prolific and renowned saxophone player since the late 1940s joined in with Luiz Bonfá for a record. The latter one was a legend in Brazil as a jazz guitarist and composer. And both as a musical unit produced one of the greatest ever paths crossing record in the field of merely acoustic latin pop. A few well placed vocal lines flanked by Mr. Getz' utterly sensual saxophone playing and restrained yet very intense guitar lines on a groundwork of poly rhythmical grooves make you want to get up and dance. The majority of the tunes on this album is all instrumental and both leaders of the project shine here as the brightest stars of the scene. If you close your eyes you will find yourself in some open and sun flushed Brazilian venue where waiters with white jackets serve drinks and a well dressed ladies with a certain mysterious charisma try to catch your eye while you zip on your bourbon and let your mind float away to the slightly melancholic but still vital melodies.
- [engl]It is interesting how the Jazz sounds of the 1950s and early 1960s influenced later psychedelic bands and if you dig yourself through to the most influentual records of that mind expanding extraordinary wing of jazz music you will hit Art Blakey and this album directly with your nose. The title says it all and what you get to listen to here will surely take you away from the cold and grey reality and drag you onto a trip to the center of your galaxy. It starts with a haunting passage that shows roots in African and latin folk music, then explodes into a cacophony of poly rhythmical patterns. There are voices allover the place but it is not singing in the actual way. This voice howls in the more gentle parts and spits commands over the wild rhythm burst outs. Art Blakey smokes and despite his completely unleashed playing he makes his drums sound melodic if that makes sense to you. Sometimes he gets accompanied by a piano or flute but their lines will hardly show up and seem like doomed greetings from forlorn dimensions while the sheer power of the drumming becomes the true reality and tears up your mind to let it float out. And this is only the first piece called ?Buhaina chant?. ?Ya ya? as second piece is a bit more melodic and has an irresistible groovy flow, still with this melodic drumming that builds the spine of this outstanding record.
- [engl] First time since decades reissued on vinyl! 1957 was a year when jazz music faced another renewal from the already traditional bebop style towards more progressive territories with mystical melodies and more playful structures. Free jazz was already in sight but nobody could name it yet. The post bop movement and modal jazz came up and somewhere in between lies this record by cult saxophonist Yusef Lateef who had already released quite a few records by the time ?Jazz mood? came to birth. Some more adventurous and mystical melodies go hand in hand with relaxed and groovy classic bebop excursions from the schoolbook of modern jazz after 1950. But there is a certain dynamic coming with the music. Something that shows you the hunger for progression and the craving for new ground to explore. So you will find well familiar melodylines here played by a saxophone that is always close to break out of the standards. And the interplay of all instruments is just fantastic, right on the spot, tight and still free in certain moments. Yusef Lateef and his band paint pictures and tear your mind open to blow magic into your soul. There are passages here and there that go beyond the standard phrases and deprive you of your breath due to the passionate and lusty performance. All in all ?Jazz mood? is a melodic album and creates a dim and thought provoking atmosphere. Another killer true jazz album from the 1950s before the great freakout began, still easy to consume for mainstream listeners but also inspiring enough for the hipsters.
- 1. Softly As In A Morning Sunrise (6:43)
2. I Didn't Know What Time It Was (8:21)
3. Moanin' (16:34)
4. Good Bait (10:16)
5. I'll Remember April (6:48)
6. Rollins' Tune (5:14)
7. Tune Up! (7:46)
8. Free (9:09)[engl] The complete session finally back on CD! Recorded in Stockholm on October 25th, 1962, this session marks one of Ayler's earliest recordings, featuring a European backing group he assembled during his brief stay there, before returning to the States in 1963 and beginning his legendary run with ESP-Disk and Impulse! Though his genius was not yet fully formed, one can easily hear he's headed that direction, and this rare and long out of print recording is an essential piece of the history of one America's most uniquely lyrical voices on the saxophone.
- Soul / Funk / Jazz
- [engl]2018 REPRESS! Popular and increasingly in demand, IZIPHO ZAM (my gifts) falls into the ?rare? category among record collectors and is a gift to fans of master Pharoah Sanders. This demand is partially galvanized by the fact that ?Prince Of Peace? has become an inspirational mine to Hip Hop artists and is much loved by samplers. Izipho Zam is Pharoah Sander?s 3rd album, initially recorded in january 1969, it was originally released on the Strata-East label in 1973. On Izipho Zam Sanders and his band take you on a journey into another world providing an amazing experience! Passionate, intense and free, Sanders saxophone especially, is exquisite, pouring out its soul telling a story of its own. Hailed by peers as the best tenor saxophonist in the world, Pharoah Sanders is a legend in Jazz music. He is regarded as one of the pioneers of free jazz and is the mentor of jazz giant, saxophonist Robert Stewart. Born in 1940 into a musical family as Farell Sanders in Arkansas, he first played the clarinet before switching to tenor saxophone in High school. After High school he moved to California to study music and art. In 1961 Sanders moved to New York where he often played gigs with a number of free jazz dignitaries including Billy Higgins, Sun Ra and Don Cherry. His name ?Pharoah? was given to him by Sun Ra, who was his bandleader then.
- [engl] Earlier in 2017 Everland Jazz presented a reissue of Danser's Inferno's - Creation One, originally released in 1973. Now we present the even more obscure release The Danser Revolution by The John Danser Octet, almost impossible to find in original format. The ultra rare funky jazz LP from 1977 contains the killer funky fusion tune ''Cool'' known for being sampled by Gangstarr, Blackalicious and J.Dilla. At age 14, John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. In the 1970?s, composer and multi-instrumentalist John Danser formed Danser?s Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. The John Danser Octet most probably contains the core of that same ensemble but the groups?s single album is so rare that little is known about it?s exact origins. So, just let the great music speak for itself. Licensed from Jessica Danser
- [engl] Baad John Cross?s New Revolution is a Afro-electro-funk-boogie-disco banger that could only come from 1980s Nigeria. Bright, optimistic, with an unrelenting eye on the dance floor, it is regarded by many as a prototype of the electro rhythms that would become the signature sound of Nigerian boogie. A Cameroonian by birth, Cross arrived in Lagos a cheeky smile, a pair of white dungarees and a bag full of songs. After proving his chops with uncredited session work, he signed with the legendary Coconut label, hooked up with producer Modjo Isidore and created a stone cold boogie classic in New Revolution. ?Gimme Some Lovin? and ?Get Up And Dance Salsa? (briefly a dance craze in Lagos, apparently) are dance floor classics, ?Jeanie My Love? the obligatory love ballad and ?We Need Freedom? a Marleyesque call for peace across the continent. The real surprise is ?Rock n Roll Birthday?, a rockabilly number straight out of 80?s London. (The cover photo has a similar vibe.) Sadly, New Revolution was to be Baad John Cross?s only album. He was soon back in Cameroon, eking out a career as a session musician, but not before creating one of the freshest Nigerian boogie albums ever made. - Peter Moore, www.africanrevolutions.com
- [engl] Mix righteous fuzz guitar, bad-ass keyboards and ecstatic African rhythms and what have you got? Celebration by Aktion - a slab of of heavy Afro-funk-pysch-rock from the hardest working band in 70s Nigeria. Aktion had a residency at the Lido Night Club and Restaurant in Warri but toured constantly. Drummer Ben Alaka and Bass player Renny Pearl Nwosa created a bedrock of hardcore rhythm that allowed the rest of the band to cut loose and follow their own groove. Celebration, their second album, sees Aktion at the height of their powers. Ben Alaka had claimed his crown as the best drummer in the country (Proof: the intro to ?Centepede?), keyboardist Zeaky George has got his freak on (have a listen to ?We?re Laughing?) and Jimi Lee?s searing guitar breaks were leaving scorch marks across every track (?Celebration?, ?Groove The Funk?, take your pick.) Sadly, Celebration was also their last album. Renny and Lemmy left to form The Stormmers. Jimmi Lee hooked up with Mona Finnih and discovered disco. But Celebration remains a psych rock monster - and a funky, fuzz-filled tribute to Nigeria?s rocking east. - Peter Moore, www.africanrevolutions.com
- [engl] NIGERIAN YELLOW COVER VERSION! The Funkees hit London in 1973 as the tightest, funkiest and most audacious bands to come out of Africa. Hardened by endless touring and an unrelenting battle with BLO and Monomono to be the best band in Nigeria, they were in prime musical condition, ready to finally lay down their first album. The result was Point Of No Return, a balls-to-the wall Afro funk-psych-rock monster that placed them, without question, on the top of the Afro funk pile. From the audacious opening instrumental title track to the funky finale, ?I Can?t Be Satisfied?, the musicianship is jaw dropping, with a rhythm section so tight you couldn't slip a cigarette paper between them. ?Abraka?, ?Dancing In The Nude? and ?Ole? find Jake Sollo, Harry Mosco and Sonny Akpabio at the height of their powers, playing songs fashioned from the sweat of years playing live and the soca and calypso influences of the West African and Caribbean musicians they played with in London. Point of No Return is rightly regarded as a landmark of psychedelic Afro Funk. It's also one that marks out The Funkees as not just one of the best bands in Nigeria or Africa, but in London and across the world too. - Peter Moore, www.africanrevolutions.com
- [engl] FRENCH GIRLIE COVER VERSION! The Funkees hit London in 1973 as the tightest, funkiest and most audacious bands to come out of Africa. Hardened by endless touring and an unrelenting battle with BLO and Monomono to be the best band in Nigeria, they were in prime musical condition, ready to finally lay down their first album. The result was Point Of No Return, a balls-to-the wall Afro funk-psych-rock monster that placed them, without question, on the top of the Afro funk pile. From the audacious opening instrumental title track to the funky finale, ?I Can?t Be Satisfied?, the musicianship is jaw dropping, with a rhythm section so tight you couldn't slip a cigarette paper between them. ?Abraka?, ?Dancing In The Nude? and ?Ole? find Jake Sollo, Harry Mosco and Sonny Akpabio at the height of their powers, playing songs fashioned from the sweat of years playing live and the soca and calypso influences of the West African and Caribbean musicians they played with in London. Point of No Return is rightly regarded as a landmark of psychedelic Afro Funk. It's also one that marks out The Funkees as not just one of the best bands in Nigeria or Africa, but in London and across the world too. - Peter Moore, www.africanrevolutions.com
- [engl] One of the greatest soul funk albums of the 80s, and a darn record to find! The tracks are nice and tight, with sort of a smooth modern soul and a good dancefloor groove. Made by a vast collective of musicians in and around LA in the early eighties who recorded for the KMA and Jam-Power labels. Most famous from that collective became Chuckii Booker who went on to solo fame. Gift Of Dreams recorded two full albums for Jam-Power, this being the first and a bit more soulful of the two. Overall there are already many touches of electro, boogie and funk which makes this music being in such high demand. This beautifully restored reissue contains all the info and illustrations of the very first, full colour and pretty artsy LP-sleeve design. Licensed by David Wooley, Jam Power Records