[engl] Arman Ratip began his piano lessons with his mother Jale Dervis at the age of five. He began composing at the age of seven and was a child prodigy. Later his musical career took off in London when he recorded two albums for EMI. After concerts in London, Vienna, Salzburg, Bucharest, Ankara International Music Festival,Istanbul, Marlborough International Music Festival, Bursa, Berlin, Islamabad, The North Cyprus International Music Festival, music critics hailed him as a brilliant virtuoso pianist- composer. He is among the top leading pianist-composers of Avant-Garde Improvisational Music and a jazz pianist of Avant-Garde Jazz and Turkish Jazz.

[engl] Now bringing together all the great soul classics of the 70s for the first time in a Deluxe Numbered Edition One of the greatest representatives of Brazilian soul music, Carlos Dafé has been recorded by such artists as Tânia Maria and Nana Caymmi, in addition to his solo career (registered in six albums from 1977 to 1997). Carlos Dafé had his first model as musician in the figure of his father, who taught him several instruments and introduced him to choro and samba traditions. In the ’60s, Dafé exercised his vocal possibilities as a crooner in São Paulo and Rio’s nightclubs. His first solo album came in 1977 "Pra Que Vou Recordar". Influenced by Tim Maia and Cassiano, the Carioca (from Vila Isabel) suburban Carlos Dafé developed their soul music tinge, first reflected in his 1978’s Venha Matar Saudades, where he was backed by the Banda Black Rio. With more than five decades of career, Dafé is one of the precursors together with Tim Maia, Hyldon, Cassiano, Gerson King Combo, among others, of the soul music movement in Brazil, the Black Rio Movement. In his repertoire are classics like "Pra that I will remember what I cried ", " The cross ", " Everything was beautiful "and" The day dawned with joy ". Successes that enshrined his name in the history of MPB. From the journalist Nelson Motta, Carlos Dafé received the title "Prince of Soul".

[engl] This is Erlon Chaves e Orquestra Saint Moritz – "Procura-se uma Virgem" OST (1971), , supposed to be one of the most sought after Erlon Chaves LP. This OST was recorded to a Brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro Erlon Chaves.

[engl] Gary took 25 years to make his debut Gods in Brasil but less than 1 year to make his follow up. Songs from the vaults newly recorded with the same great band featuring touches of Steely Dan, Marcos Valle & Leon Ware, Brazilian Boogie, 70s Samba Soul and even a hint of Scott Walker. "A joyous revival of 1970’s musical moods, under smart contemporary arrangements and sweet interpretations." Arnoldo Medeiros

[engl] In the mid 90s Gary lived in Rio sharing a flat with Kassin, then in an unknown local band but later to become one of Brazil’s greatest producers working with Gal Costa, Caetano Veloso and Gilles Peterson. Back then Gary used to constantly write songs but could never be persuaded to do anything with them. But the songs would stick in Kassin’s head and plague him for years. Over the following decades Kassin would regularly ask ’what about your album?’ and Gary would shrug and say, "yeah, maybe, one day". Then, in 2018 Kassin played in London with members of multi–platinum Polish supergroup Mitch & Mitch and this time when Kassin posed the question, Gary said "Yes! Let’s do it, but we have to do it in Poland with these guys." This led to recording Gods in Brasil at the Polish Radio Studios in Warsaw with the Mitch & Mitch guys and a bunch of classical sessions musicians and finishing off in Kassin’s studio in Rio with some special guests. The record turned out so well that Gods in Brasil Vol 2 is already under way. The album touches on the classic sounds of 60s and 70s Brazilian records with nods to Gary McFarland on the way. The song Juanito Caminante is already a favourite with Joao Donato who was a huge influence on the sound of the album. The arrangements were shared between Alberto Continentino and Ryszard Borowski of the Polish Radio Big Band.

[engl] Debut album by the influential gaucho musician Gelson Oliveira, in partnership with the drummer Luiz Ewerling, released independently in 1983, with minimal resources. In spite of all this, they made a unique and very album, with a spectacular musicality, a mix of sounds, ranging from jazz, funk and fusion.

[engl] An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection. In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label. Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background. Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun. Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

[engl] Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture. The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly. At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo". Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack. "Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism.

[engl] Considered one of the masterpieces of seventies psychedelic, his second album, released in 1973, is the result of a partnership with Tibério Gaspar (author of: "Sá Marina", "BR–3" and "Teletema"). The album was recorded at Rádio Gazeta Studios in São Paulo, with the participation of musicians already known as: Wagner Tiso on synthesizer, Luiz Claudio Ramos on arrangements and conducting, Lanny Gordin on guitar, Oberdan Magalhães on flute and Guilherme himself playing guitar and piano. Guilherme died on August 7, 2018, at the age of 67, due to health complications. But the timelessness of his work has been revisited by the new generation of artists and audiences. RED VINYL. LIMITED TO 200 COPIES.

[engl] Ultra–Rare Hareton Salvanini Soundtrack reissue for the first time Worldwide. Rare Brazilian album of the obscure film "Xavana, Uma Ilha do Amor" mixture of Jazz and Bossa Nova and Psych. Hareton Salvanini creates a record full of groovy guitars, refine strings and delicate orchestral Sounds. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low–budget soft porn on exotic locations. Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack. No wonder many consider him a lesser–known Arthur Verocai. Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs. Housed in deluxe reissue in super nice thick cardboard cover + OBI

[engl] I was at a ’Jazz Bop’ party in Brighton, the UK in the late 1980s and Giles Peterson played an amazing track that I asked him about from across the booth. I could barely hear what he said – all I caught was the word "IMANI". Too much time had passed but finally, my own label, Mad About Records, is proud to present this ultimate jazz private press holy grail fully licensed. The incredible San Francisco Area Jazz Funk Spiritual IMANI"Out of the Blue" original only 500 copies of this privately pressed record was manufactured in 1983. Here is your rare opportunity to own a deluxe reissue of this "impossible to find" original. Privately pressed by Preston Phillipps and Pam Byrd has been called the "ultimate private press vocal anthem" of bay area jazz. If you like John Heartsman, Aposento Alto or Minority Band, don’t miss a true killer record.

[engl] Killer AOR Rarity. Highly recommended. Jay Days’ only album presents eight killer funky AOR sounds and blue eyed soul tracks. Rarely surfaced in the collectors’ market but now the album is finally reissue on vinyl. A band formation with mysterious session men who support JAY DAYS of slack guitar vocal, gentle electric piano with jazzy rock, blue–eyed soulful medium mellow, female chorus with mystic groove. It contains Hawaiian–style acoustics and dense performances unique to the Private Press. It is a hidden AOR masterpiece where you can feel the tropical atmosphere of the street along with the wind of the West Coast. Limited Edition on 180 gram vinyl

[engl] "ASFALTO SELVAGEM" LP is one of the rarest soundtracks ever made in Brazil, arranged by João Negrão. Truly a hard to find item! Asfalto Selvagem is a 1964 Brazilian film directed by J.B. Tanko, a drama based on the first part of the novel "Asfalto Selvagem: Engraçadinha, Seus Pecados e Seus Amores", by writer Nélson Rodrigues. Imagine Les Baxter meets Ennio Morricone and Armando Trovajoli on Jazz Bossa Nova. Ed Motta’s Favorite 1964 Jazz Bossa Nova

[engl] Latin Funk Psych Fuzz Blaster basically covers all the realms of rare record collecting in one shot!! There's the Funk Fuzz Blaster "Maranatha" or the Ray Barretto Latin Jazz Groove cut "El Que Se Fue" with freaky synth blasts. The Texas Easy Funk moves of "Squeeze" which remind of Steam Heat, or the lounged out soul rendition of Stevie Wonder's classic "Bird Of Beauty”. Something for everyone and impossibly rare!!

[engl] I can't begin to tell you how many people want this album. The original press is always sold over 1000 usd. Recorded and edited in 1980 in a small local press in North Carolina, it became a cult and a holy grail LP over the decades. In 2016 the producer Kon revised “Tin Top” in a edit that elevated it to the anthem of dance floors.

[engl] Piano player from Rio de Janeiro, he started playing at night in the late 1950s, quickly participating in the Bossa Nova movement. He joined the legendary Bossa Três alongside drummer Edison Machado and bassist Tião Neto, with whom he recorded three albums in the United States in 1962. Back in Brazil, he continued to perform with Bossa Três alongside other works with Jorge Ben, Quarteto em Cy, Elis Regina and many others. Vinhas was one of the great exponents of Bossa Nova. He worked as a pianist at Beco das Garrafas, as well as appearing on Elis Regina's albums, Quarteto em Cy, Jorge Ben Jor, Maria Bethânia, among others. He also formed one of the first musical groups of this period, Bossa Três, which, in 1966, with Leny Andrade and Pery Ribeiro on vocals, was renamed Gemini V. In 1963, he released Lp “The Bossa 3”. In 1964, he participated in the fabulous album - “O Som” by Meirelles e Os Copa 5. Still in that year he recorded the phenomenal Lp - “Novas Estruturas”. In 1968 he released "O Som Psicodélico de Luiz Carlos Vinhas" a bold mix of jazz with the sounds that came from the tropicalist movement and psychedelic. This LP is a milestone in Brazilian music and very rare in its original edition. Finally Mad About Records officially reissued it.

[engl] Mandala made only one eponymous album, recorded in 1971 but released only in 1976. A very rare and influential album, featuring future members of Grupo Um (Nazário and Zeca Assumpção who also played with Hermeto and Egberto Gismonti) and Pau Brasil (Nelson Ayres) – two seminal bands from the Brazilian instrumental scene of the 80s. The sound is a mix of Jazz Fusion with a Brazilian footprint – with a dash of psychedelic atmosphere and the spiced influence of oriental music.

[engl] Probably the most rare release south–African jazz Along with Chris McGregor, Gideon Nxumalo helped pioneer the pre–exile South African Jazz sound. His 1962 album ’Jazz Fantasia’ is widely regarded as a seminal South African jazz record. The record featured legendary jazz altoists Kippie Moeketsi and a very young Dudu Pukwana Dudu Pukwana plays sax in similar Albert Ayler’s vein! Moeketsi was a colossal South African jazz figure during this time, and ’Jazz Fantasia’ signaled Moeketsi’s last commercial success before his struggles with alcohol and depression took their toll. The album was recorded at the Great Hall at Wits University in September 1962. It was commissioned by the university as part of an arts festival. With a limited pressing at the time, the album has become a revered foundation of modern South African jazz music, even though it is a rare album to find.

[engl] 60s jazz holy grail LP outta California This album is on the extremely limited and sought after private press label HME. It's a deep, Latin, Afro/Cuban-influenced, primarily acoustic jazz piece. Influences range from the cerebral to the soulful, but it defies any one-dimensional tag like "spiritual jazz" or "soul-jazz" or "jazz-funk." Heralding from L.A. and led by pianist Reggie Andrews, it doesn't sound particularly "west coast." It's a beautiful session all around, really something special and profound. In recent years, Reggie Andrews has taught, mentored, and produced many talented musicians including Patrice Rushen, Terrace Martin, Ndugu Chancler, and the Dazz Band who wrote "Let it Whip" along with his close friend Leon Ndugu Chancler. He is the founder of the jazz-fusion group Karma He worked with Earth, Wind & Fire, produced Moacir Santos for Blue Note Records and served as "Electronics Consultant" for Donald Byrd, and mentoring The Pharcyde to J.Dilla.

[engl] Renata Lu is a bit of a mystery figure... She only made a few albums in the 1970s and sang backup on many more such Tim Maia and Nonato Buzar but for whatever reasons never seemed to make it into the MPB upper echelons. Debuted solo in 1971on her self-titled album for Copacabana Records with a heavyweight fusion of US style soul and funk with added Latin percussion. This features Renata Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. Rare LP finally reissued on a deluxe edition. One of the landmarks of Funk Carioca.

[engl] Sweet Soul Funk from 70s Brazil. Ronie aka Ronaldo Mesquita, the drummer of Bossa Três Combo! This album's got a smoother groove and luxurious use of Fender Rhodes, gliding alongside sweet samba soul arrangements in a mode that's a bit like some of the funkier 70s work by João Donato. Reissue on vinyl for the first time in a 180 gram heavyweight vinyl.

[engl] This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip–hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – "Som, Sangue, e Raça" from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba–enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown "cover") in ’Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ’Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band. The album ’Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

[engl] This is cool jazz album all the way around. From the black and white hand drawn to the fact that it came out of Fresno, California (not exactly a hotbed for jazz) to the handful of styles present (straight ahead, funky, free, and even a raga), this record’s got it going on. High quality musicianship and some far out stoner tracks make this album stand head and shoulders above most of its private peers. Original very limited issue (rumor has it that only 300 were pressed). This album was a very limited press that was handed out at their shows and sold to local record stores. Only together for nine months, Mike Selesia (who plays Sax and Flute) and band recorded this album in one day presented this fascinating hybrid of early 60s Coltrane, early 70s Miles Davis.

[engl] Recorded Live at S. Paulo in 1982 it was originally issued on Amado Maita’s small indie label in the 80s called Poitou. Featuring one of the best Brazilian Sax Players, the legendary Nestico and his sister composer, piano player Lilu. Nestico joined several Jazz ensembles in São Paulo, having participated in 1977 in the first Jazz festival held at the Municipal Theater, alongside the musicians Samuel (piano), Nilson (bass) and Caram (drums). He performed several times in São Paulo with Syncro Jazz group. In 1982 released with the ensemble the LP "Syncro Jazz – Live", along with the musicians Lilu Aguiar (piano), Peter Wooley (bass), Vidal (sax and flute), Dagmar (trumpet) and Ronny Machado ( drums). In the repertoire, the songs "Pro César", dedicated to pianist César Camargo Mariano, "Winter know" and "Black Cock", all by Lilu Aguiar, "For Guzi" (Peter Wooley), "Cruzan" (M. Santamaria) and Revelation (S. Fortune). The LP contains amazing Fender Rhodes solos in a Heavy Modal Spiritual and Bossa Jazz a la Strata–East & Black Jazz Records.