[engl] “‘Beaches in Your Soul’ is an album that is both great fun and full of depth as it conveys an incredible, life-affirming energy. Rolf Zielke describes his music as “daydreams and visions of the future that become sounds.” There is no doubt that this album is an impressive demonstration of his outstanding abilities as a composer, arranger and pianist, as well as his important role in European jazz.” Matthias Wegner, music journalist, November 2020

[engl] Everland Jazz have picked a real gem for a reissue here! Originally released in 1980, "A Safe Return" is the second album by the Surinam jazz flutist RONALD SNIJDERS. It is a strong alloy of soul, funk, jazz and smooth disco sounds! Mersmerizing musical craftsmanship! “Lenox” the opening track, has a playful haze escaping from every groove,with a solid hypnotical rhythmical base and haunting flute melodies that have the character of the lead vocals. Despite the slower pace, the jazzy approach of all instrumental parts brings in enough edge to capture the listener’s attention. The few dreamy vocal lines add the slick pop element that takes this song to a different level and keeps it accessible. “Surinam Lady“, the next tune, on the other hand has a lightweight feeling with a beautiful lead melody from the flute and easy slow dance rhythms with a latin touch. All instrumental lines are tightly intervowen in arrangements that make this a perfect tune. Easy to listen, easy to enjoy, but still a complex soundscape with captivating changes in the melodies and instrumental dialogues that tie up your senses to the composition. „Kaseko attack“ the third tune really does justice to it’s title.The rhythms are powerful, the pace is faster. Bass and percussions create a whirlwind of groove due to another quite complex web of different instruments like maracas, drums, tambourines and whatever can be used to make rhythmical noises. There is even a guitar straddling into the footing of grooves and the electric piano joins the guitar. For most of it’s running time this song is about groove and nothing else. The melodies from the flutes are sparsely used here adding a completely different character, rather dreamy and floating. Both worlds flow and blend beautifully. „Sisa“ follows and shows an affinity for spiritual free jazz. In it’s opening section flutes, acoustic guitars and other instruments tumble into the scene. The song then opens into a funky base forming the fertile soil on which the fluttering flute melodies can grow to a colorful size. The middle section is a gentle passage with an utterly beautiful flute harmony that turns into a playful and quite progressive sounding part before it fades away. „Tukayana“ is an impressive journey to unknown landscapes with even a mystical turn from time to time. With „Soweto friend“ you enter a lounge or bar after returning to your place of accomodation from the trip. You sit in the roof garden, take a zip from your long drink and look out to the ocean during the twilight time. This song starts with such a relaxed and easy atmosphere but soon twists the lightweight latin grooves into a jazzy rhythm figure that shows a fractured structure being kept in one piece by the enthralling flute melodies and some moony synthesizer carpets. With zippy „Djamba“ with the flute going wild on a base of samba grooves from drums and bass guitar, plus a little support by the electric piano. This tune stays instrumental during it’s running time but that’s certainly fine. A dreamy finale comes with the title track of the album. Flute and electric piano float around another, interact like two loving souls in a gentle dialogue. A beautiful way to end such an exciting yet still accessible album. You can either turn on the stereo and turn off your mind swaying to the music, or you may as well listen closely to the many little details that make this record so intense. The playing and the sound are extraordinary! The reissue comes with a slightly improved sound by Ronald Snijders himself with the whole package retaining the spirit of the original release. For all fans of jazzy fusion and funk sounds that peep at disco music from time to time, this 1980 classic is a must have!

[engl] Some albums show you right away what kind of spirit backs them. Ronald Snijders solo debut from 1977, „Natural sources“, is one of these. It begins with a free improvised, sometimes scatting flute and while the flute goes more and more crazy some scat vocals join in to make this first track a kinda strange affair. Jazz, free and spirited, seems the way but Ronald Snijders, son of Surinamese composer Eddy Snijders, outwits us in all our tiny minded expectations with the next song already. An evergrooving base of polyrhythmical grooves from several percussion instruments builds the ground from which captivating flute patterns arise. The foundation is a repetitive latin beat influenced by Brazilian dance music but the free jazz flute eruptions on top make it a wicked listening experience, even though this is just the middle section of the song and the beginning and ending themes show a rather lighthearted jazz sound with latin grooves. So here we go. Ronald Snijders explores the depths of his musical heritage, the latin and the jazz and really pulls it off here. The next tune even drifts into a kind of exotica direction with a rather picturesque approach that drags images of indigenous dances in a jungle surrounding to the listener’s mind but then Snijders falls back on free jazz with reduced arrangement and his fondness for avant garde sounds wins over. This is certainly a challenge for music lovers due to the fact that next we face the return of the latin jazz with a slightly more modern fusion feel. All instruments on all the songs get played only by Ronald Snijders by the way. I think this is important to mention if you want to understand the whole width of his talent. Latin jazz the way Snijders composes and performs is far from silky elevator fusion. He plays with passion and his creations might have a lightweight appearance from time to time but all those little percussion themes, the guitar harmonies, the time changes and sounds echoing from far beyond the surface make this a real challenge for the listener. This record has an accessible side but demands full attention. A thrilling masterpiece where latin jazz, free jazz and fusion flow into another for some great new music. Even elements of 1950s electronic music find their way onto this record and although just as an interlude. For those who dare this is the sacred progressive jazz fusion grail.

[engl] Impossible to find Spiritual Jazz / Funk / Groove / Psych rarity from France, 1973. Rupture was born when famous French songwriter Boris Bergman (France Gall, Dalida, etc) decided to record a conceptual album about the history of Israel. He approached ace drummer and singer Sylvain Krief (Airto Fogo, Michel Fugain, Aznavour, Clark Terry, Bud Powell, etc) and soon, other musicians joined: Jean–François Jenny–Clark (Don Cherry, Steve Lacy, etc) on bass, Georges Locatelli (Total Issue) on guitar, Jean–Pierre Mas (piano, organ, guitar, vocals...) In resume, Rupture was a kind of super–group featuring some of the best musicians from the Euro jazz / progressive / fusion scene. It also included collaborations by Michel Fugain and Nicole Croisille. The album was recorded over a period of three months and the result was released as a very limited private pressing with help from the Futura label. Arranged by Sylvain Krief and Jean–Pierre Mas, "Israel Suite" included a side–long suite on side A and shorter songs on Side B. An incredible mix of vocal / spiritual jazz, funk, progressive, jazz–pop, psych...

[engl] In 1965 - only a few months after recording „Ghosts“ with Albert Ayler - Sonny Murray released his first album as a leader. „Sonny's time now“ is one of the holy grails for collectors and aficionados of free avant garde jazz music from the 1960s and while original vinyl copies fetch prices up to 270,00 US$ and more ,even the first Japanese reissue from 1986 on vinyl and CD is rare as stardust these days and goes up to 100,00 US$ for a mint CD copy. Well, we will take a closer look at this album due to this current reissue, which is the first in 30 years. Albert Ayler and his „Ghosts“ album from 1965 were already a hard thing to swallow except for the most adventurous explorers of the furthest corners of the border districts of music. You need an unconventional view on onomatopeia to enter this world and drummer Sonny Murray went another step ahead on „Sonny's time now“. The lengthy piece „Virtue“ presents an ever pulsating wall of rhythm that reminds me of a wuthering ocean with the horn section going nuts on top. The saxes and trumpets are constantly erupting and it is a challenge for the listener to find the melodies among their output of sound. „Justice“, another lengthy piece divided into two parts, continues the quest „Virtue“ began. And soon you begin to understand what this is all about. The atmosphere of these free improvisations slowly swallows you and the shrieks of the saxophones and trumpets free your soul from your physical appearance. What feels like an impenetrable thicket of sound at first soon will offer you enlightenment and a memorable structure within all the chaos. The same year that John Coltrane took the last step away from traditional jazz and music in general this album was equally radical but seems to have disappeared within the depths of music history. The most radical piece on this record comes with the shorter „Black art“, a writing by activist and controversial poet Amiri Baraka underlined with freak out eruptions of Sonny Murray and his mates. This is the right soundtrack for a cathartic meditation and when the last tune is over you will be another person. For fans of Coltrane and the likes a must have.

[engl] First ever LP/CD reissue of this private Dutch album from 1979: a latin- funk- psych- prog trip featuring groovy jazzy flute, superb acoustic / electric guitars, funky rhythm section, exotic percussion and some cool Oriental / Thai / Brazilian vibes. Angelo Noce Santoro is a guitar player with over forty- five years of musical career. A founding member of legendary psych- prog band Cosmic Dealer, Angelo has recorded and released albums under his own name and hes also behind projects like Palmeira (the first Dutch band playing Brazilian music), Santoro Brothers and Oriental Guitars among many others. His unique guitar playing, which incorporates surf, psychedelic, jazz and Oriental influences, has received praising from connoisseurs of obscure instrumental sounds such as Jello Biafra, who got in touch with Angelo after discovering one of his solo albums in a second- hand shop in the 80s. For You? was Angelos first solo effort, released as a private pressing in 1979 on ANS, his own label. Angelo played bass, acoustic & electric guitars, flute and percussion. He was joined by ace flute player Steven Bishop, drummer Herman Muller and Lodewijk Hulsman on acoustic guitar. Most of the tracks were written by Angelo prior to 1979, with some of them dating back to the early 70s when he was with Cosmic Dealer.

[engl] Found in the archives of FMP! The very first - never released - recordings of the SCHLIPPENBACH TRIO Alexander von Schlippenbach - piano Evan Parker - tenor and soprano saxophone Paul Lovens - drums Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin. All music by Parker/Von Schlippenbach/Lovens Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers.

[engl] Austrian band Shake Stew has become something of a phenomenon. With their premiere at Jazzfestival Saalfelden 2016 and their following debut “The Golden Fang” they seemingly exploded into the scene out of nowhere. Since then their high energy mixture of hypnotic afrobeat and jazz grooves has made them enormously successful not only on home turf but across Europe. Led by rising star bassist Lukas Kranzelbinder they quickly became one of the hottest live acts on the circuit, while the impact of their second album “Rise and Rise again” (featuring Shabaka Hutchings) enabled them to spread their unique sound further afield, including an extensive tour of Canada, Mexico, Morocco and stand out shows at prestigious festivals like Montreal, Rochester and North Sea Jazz Festival. The band has also attracted the attention of Germany’s leading newspaper Die Zeit who, in an unusual move, sent one of its writers to spend 5 days with them to cover the formations summer residence at Jazzclub Unterfahrt; the resulting feature was euphoric in its praise: "What I heard blew me away. Captivating rhythms, melting brass, hypnotic funk-beat-swing-afro-jazz-rock-rhythm-and-something. I was glued to my seat and could barely get up. […] Meanwhile I know that other listeners had similar initiation experiences; something comes from this band that is new and special - and very attractive.” Despite being on the scene for only a short time, German Radio NDR already called them a “Cult Band” and everyone who could witness the septet's two-day residency at Viennese Jazz Club Porgy & Bess earlier this year might understand why: Both evenings sold out, a total of nearly 900 listeners, who crowded into the club to hear the latest sounds of a band whose journey has only just started. Riding on all this success Shake Stew are now releasing their third studio album Gris Gris on 1 November. Not content to do anything by halves (their first single was 19 minutes long), Gris Gris is a double album of what they do best: A high-octane mix of fiery jazz and trance-like groove injections combined with mysterious soundscapes and spiritual free jazz eruptions - or as one Austrian newspaper described them “an intergalactic road movie for the ears!”

[engl] SHAKE STEW is Austria‘s jazz band of the hour. After playing more than 25 gigs during the first months since premiering at Jazzfestival Saalfelden 2016 and selling out their first record „The Golden Fang“ within half a year, the unique septet is conquering the music world with a hypnotic mixture of afrobeat and jazz grooves shaken up by the intense and mysterious soundscapes created with a combination of two drummers and two double bass players! With „Rise And Rise Again“ Shake Stew are releasing their highly anticipated second album in May 2018, which also features Shabaka Hutchings on 2 of the tracks. Everywhere they went so far, the press has been more than enthusiastic, often trying to create new terms and genre-labels to put their live experiences into words and this new release will only further establish their status as one of Europe's most upcoming Jazzbands. Shake Stew brings together seven unconventional musicians, all of them interesting characters of the young Austrian and German jazz scene. They are united with bandleader Kranzelbinder (1988) by the pursuit of new, enhanced sound possibilities and by concepts beyond boundaries of genre, which are by now already considered a guarantee with Kranzelbinder. His own distinct combination of virtuosity, entertainment and uncompromising energy comes out in many of his projects and has meanwhile become a kind of trademark of the hard working musician, composer, and arranger. As the youngest musician so far in the history of the prestigious Jazzfestival Saalfelden, he was chosen to put together a new project for the festivals opening concert in 2016, which is also connected with a 4 day residency. He put together a septet and prepared the festival show for a whole year, before not only recording the debut album “The Golden Fang” within a day of the residency but also playing a concert to remember: Der Standard from Vienna describes the septet’s performance as a „magical opening hour“, to the Kurier Shake Stew sounds „like an intergalactic road movie for the ears.“ The Süddeutsche Zeitung calls the bassist and composer Kranzelbinder a whizz kid and the OÖN added: „The 28-year-old writes fantastic pieces, which optimally feature the exciting instrumentation with its three-part horn section and two basses and drummers“.

[engl] A mid 1960s rock'n'soul smasher! Shirly Ellis and her songwriting team went for a colorful album here combining hard hitting rock'n'roll with a slightly softened garage flavor and lush soulful pop. It presents smooth yet striking vocal melodies on nearly ecstatic rhythmical patterns. Dance songs thrown in for the good measure put an emphasize on the groove that shake and rattle your funky bones! Shirley Ellis knows to put words together and sing them in a way that they put fuel to the rhythm fire. The album will certainly appeal to soul aficionados but this goes deeper and further and melts down the borders to beat and rock'n'roll. Despite the singer's age this album felt fresh and youthful which is owed to her timelessly elegant voice that shows class and style even in the more naughty moments. A fantastic gem for certain and a must have for fans of black 60s pop, soul and rock'n'roll.

[engl] "Sohail Rana, versatile maestro of film and pop composition, and leading force in pioneering the cultural landscape of modern Pakistan. His longplay masterpiece, Khyber Mail is stocked with groovy eastern moods, electric organ, sitar soul and surf guitar." Alan Bishop (Sublime Frequencies / Sun City Girls) Khyber Mail is a concept album designed to invoke images and sounds of a high speed Pakistani freight train travelling from Karachi to Peshawar, was dominated by Sohail's whining and addictive electric keyboard and a motoric rhythm section of beaty percussion and sitars introducing a form of radical patchwork pop and mechanical music to a warm receptive audience. By combining the folk music of the Sindh and the Punjab with maverick sounds, signatures and rhythms, Khyber Mail marks a landmark shift in the Pakistani pop industry kick-starting a lengthy career for one of its best loved musical patrons while setting a challenging new standard for the "plugged-in" Lollywood pop scene that would explode at the turn of the decade. All aboard and full steam ahead for the Khyber Mail Twist. The newest instalment in our critically acclaimed Sound Of Wonder series, 2011 will also see the release our Life Is Dance – our second compilation of plugged in Pakistani pop Original vinyl copies command prices in excess of £300 on certain internet auction sites – if you’re lucky enough to come across one.

[engl] In 1965 - only a few months after recording „Ghosts“ with Albert Ayler - Sonny Murray released his first album as a leader. „Sonny's time now“ is one of the holy grails for collectors and aficionados of free avant garde jazz music from the 1960s and while original vinyl copies fetch prices up to 270,00 US$ and more ,even the first Japanese reissue from 1986 on vinyl and CD is rare as stardust these days and goes up to 100,00 US$ for a mint CD copy. Well, we will take a closer look at this album due to this current reissue, which is the first in 30 years. Albert Ayler and his „Ghosts“ album from 1965 were already a hard thing to swallow except for the most adventurous explorers of the furthest corners of the border districts of music. You need an unconventional view on onomatopeia to enter this world and drummer Sonny Murray went another step ahead on „Sonny's time now“. The lengthy piece „Virtue“ presents an ever pulsating wall of rhythm that reminds me of a wuthering ocean with the horn section going nuts on top. The saxes and trumpets are constantly erupting and it is a challenge for the listener to find the melodies among their output of sound. „Justice“, another lengthy piece divided into two parts, continues the quest „Virtue“ began. And soon you begin to understand what this is all about. The atmosphere of these free improvisations slowly swallows you and the shrieks of the saxophones and trumpets free your soul from your physical appearance. What feels like an impenetrable thicket of sound at first soon will offer you enlightenment and a memorable structure within all the chaos. The same year that John Coltrane took the last step away from traditional jazz and music in general this album was equally radical but seems to have disappeared within the depths of music history. The most radical piece on this record comes with the shorter „Black art“, a writing by activist and controversial poet Amiri Baraka underlined with freak out eruptions of Sonny Murray and his mates. This is the right soundtrack for a cathartic meditation and when the last tune is over you will be another person. For fans of Coltrane and the likes a must have.

[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. A gentle record for gentle hours and a legend on it's own. Still as fresh and exciting as it has been in 1963 and highly sought after by fans of jazzy latin sounds from those days. You wait for Astrud Gilberto to set in each second and sing about the girl of Epanema, no joke. Sound and performance are as expected. Clear and always beneficial to the song itself but adorned with the most passionate solos you could find on such a record. Sheer joy pressed on vinyl!

[engl] Drummer and composer extraordinaire Steve Reid’s Rhythmatism is one of his deepest and most radical of albums of all time and features some of the heaviest jazz players - Arthur Blythe ‘AKA Black Arthur’, Charles Tyler, David Wertman and others – joining Reid. The album was originally released on Reid’s own Mustevic Sound label in 1976 As a radical jazz artist, Steve Reid played with an extraordinary group of artists – including Miles Davis, Sun Ra, Fela Kuti, James Brown, Ornette Coleman, Lester Bowie, Freddie Hubbard, Jackie McLean, Dionne Warwick, Archie Shepp, Chief Bey, Olatunji, Arthur Blythe, , Dextor Gordon, Gary Bartz, Dee Dee Bridgewater, Sam Rivers, Leon Thomas, Lonnie Smith and Horace Silver! Reid was born in the South Bronx, and grew up in Queens, New York. He played in the house band at Harlem's Apollo Theatre, accompanying James Brown, as well as playing in Sun Ra's Arkestra. He lived next to John Coltrane, worked in a department store with Ornette Coleman, had a son who played drums with NWA. He began his career as a teenager in the 1960s as a drummer at Motown when he played on Martha and The Vandellas "Heatwave" (aged 14). At the end of the 1960s Reid was sentenced to four years in jail as a conscientious objector of the Vietnam war. On his release from prison in 1974, he formed the Legendary Master Brotherhood and started the independent record label, Mustevic Sound, to release his debut LP in 1976. Rhythmatism is released in its entirety and with full original cover art here and is one of a series of stunning independent records he released in the 1970s. At the start of the 21st century, his career took a new twist when Steve Reid began a successful collaboration with Kieran Hebden (Four Tet). Hebden referred to Reid as his ‘musical soul mate’, resulting in a number of joint albums. Steve Reid died in New York in 2010. Subsequently the Steve Reid Foundation was set up in his name, to help aspiring musicians and artists.

[engl] All star line-up Jazz fusion classic from 1976 * Featuring members of the Nina Simone-Miles Davis & Jaco Pastorius bands * Out of print on vinyl since 1976 * Featuring the original design by Jazz artist Anne Maria Schnider * Limited deluxe vinyl edition of 1000 copies Tidal Waves Music proudly presents the reissue of this long out of print Jazz/Funk classic originally released on PM Records in 1976. Featuring an all-star line up comprised out of Steve Grossman (best known for his saxophone performances & recordings with Miles Davis), Gene Perla (Nina Simone) & percussionist Don Alias (Jaco Pastorius Big Band, Blue Note). Included is a hip rendering of Stevie Wonder's "Creepin'" & the album's best-known song "Sweetie Pie" (mentioned in the track oot Down' by the Beastie Boys & sampled by rap-outfits like Original Flavor, Leaders of the New School amongst others). Stone Alliance's eponymous debut album hits hard like a sonic hurricane, this landmark album is a rebellious effort and a must hear for '70s jazz fans. Officially licensed from PM Records and featuring the original artwork created by Anne Maria Schnider. Now back available as a deluxe limited vinyl edition (1000 copies) for the first time since 1976.

[engl] In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra’s first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. These releases comprise recordings made by Arkestra member Thomas “Bugs” Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. Ra subsequently edited the three LPs of the ‘Live In Egypt’ series for release on his Saturn record label and its affiliated twin, Thoth Intergalactic: ‘Dark Myth Equation Visitation’, ‘Nidhamu’ and ‘Horizon’. These three albums are now reissued for the first time individually in their original artwork and all tracks are remastered from the original tapes.

[engl] “Sun Ra said he came from Saturn, because white America treated him like an alien, like a creature from outer space, so he became one, an anarcho-emperor of the fantastic, who made it to the moon before America or Russia, because the moon was nowhere near as far out as he could really go.“ – Paul Morley Strut and Art Yard join forces for a special release to mark what would have been Sun Ra’s 100th birthday with ’In The Orbit Of Ra’, a new collection presented by the longest serving member of the Arkestra and current bandleader, Marshall Allen. Bringing together Ra highights from over 25 years of music, the album is the first internationally released compilation to provide an introduction to the music of Sun Ra, mastered from the original tapes with extended and unreleased tracks. In addition to the track selection, the release features recollections and contributions from some of the core Arkestra line-up including Marshall Allen, Michael Ray, Knoel Scott and Danny Ray Thompson. For the music, the selection takes us through the huge variety and intricacy of the Arkestra’s work covering the ‘60s to early ‘80s, from the celestial blues of ‘Spontaneous Simplicity’ and ‘Plutonian Nights’ to the urgent jazz of ‘Rocket Number Nine Take Off For Planet Venus’ and ‘Dance Of The Cosmo Aliens’. The album features an exclusive previously unreleased Sun Ra track from the Art Yard archives, the acoustic ‘Trying To Put The Blame On Me’ recorded live in Rome in 1977, along with a previously unreleased Part 1 of ‘Reflects Motion’ from 1962 and an unheard extended version of ‘Island In The Sun’ from the late ‘60s. ‘In The Orbit Of Ra’ is released on 2CD, 2LP and digital formats. Physical formats feature full interview with Marshall Allen along with rare photos by Val Wilmer.

[engl] In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra’s first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. These releases comprise recordings made by Arkestra member Thomas “Bugs” Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. Ra subsequently edited the three LPs of the ‘Live In Egypt’ series for release on his Saturn record label and its affiliated twin, Thoth Intergalactic: ‘Dark Myth Equation Visitation’, ‘Nidhamu’ and ‘Horizon’. These three albums are now reissued for the first time individually in their original artwork and all tracks are remastered from the original tapes.