2020 repress. Soundway Records present the eponymous debut LP from in-demand Amsterdam five piece, The Mauskovic Dance Band — fusing no-wave dance punk, Afro-Caribbean rhythms, and space disco in a “controlled explosion” (The Quietus). Entirely self-produced, the band has reiterated their favorite elements of the ’70s and ’80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern-day Amsterdam. The output is a lo-fi no wave groove all its own — rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic Afrobeat, and picó soundsystem culture. Since the release of their Down In The Basement EP EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule — not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed ’70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) — and together, they mixed The Mauskovic Dance Band debut album in Lisbon. Lead single “Space Drum Machine” encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” — and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks – with the vintage psychedelic swirl of synthesizer, lo-fi drum machines, and tape recording. RIYL: Jacco Gardner, Bruxas, Nu Guinea, Voilaaa, Sofrito, Meridian Brothers, EUT, Altin Gün.
The 11th Limited Dance Edition Ranil y su Conjunto Tropical. Fourteen mindblowing Cumbia masterpieces – many of which have never seen wide release outside the Amazonian region.
Ranil’s extraordinary output has remained one of the best kept secrets among collectors of cumbia and psychedelic Latin sounds. With the release of Ranil y su Conjunto Tropical it is a secret no longer. Assembled by Analog Africa founder Samy Ben Redjeb from original LPs sourced from Ranil himself, this fully-licenced compilation presents 14 tracks – many of which have never seen wide release outside the Amazonian region – by a singular artist at the very height of his considerable powers. Prepare yourself for a guitar groove you won’t soon forget.
A Latin Soul classic – but one that’s a lot more obscure than some of the better-remembered albums on Fania and Tico from the late 60s! Orlando Marin is probably mostly known as an arranger, and a leader from the earlier years of the New York scene – but during the Latin Soul years he cut this fantastic set for Decca – easily one of the best of the all-great Latin sides the label was doing at the time! Lyrics are often in English, and sung with a good deal of soul by Eddie Revere – and Orlando’s group crackles with the intensity of the Joe Cuba Sextet – thanks to a timbales-heavy sound in the lead, lots of dark piano on the bottom, and some trumpety flourishes on the top – all with a nice dose of jazz in the mix. Soul-based titles include “Sugarfoot Baby”, “The Hustler”, and “Out Of My Mind” – and other titles include “Eenie Meenie Chow Chow”, “Chickie’s Cookie”, “La Lengua”, “Palo Monte”, and “No Puede Ser”. © 1996-2020, Dusty Groove, Inc.
Strut present the second volume in a series of compilations taken from the archives of Disques Debs International, the longest-running and most prolific label of the French Caribbean. Set up by the late Henri Debs in the late ’50s, the label has continued for over 50 years, releasing hundreds of records and playing a pivotal role in bringing the creole music of Guadeloupe and Martinique to a wider international audience.
Buena Vista Social Club, the album produced by Ry Cooder, is the biggest selling world music album ever, with over 8 million records sold.
Now for the first time comes the recording of the historic performance at New York’s famous Carnegie Hall, which became the centre-piece of the hugely successful film directed by Wim Wenders. This is one of only 3 albums ever released by the original Buena Vista Social Club.
Produced by Ry Cooder, the album features brilliant and unrepeatable performances by legends including Ibrahim Ferrer, Compay Segundo, Ruben González, Eliades Ochoa, Omara Portuondo and Cachaíto López.
Far Out Recordings present the first ever vinyl reissue of Cry Babies’ self-titled debut album, originally released in 1969. An early formation of Brazilian funk greats Banda Black Rio, Cry Babies took inspiration from the iconic US soul records of James Brown, The Isley Brothers, and Kool & The Gang, all of whom are covered on their first and only album. Pioneering Brazil’s funk fascination, Cry Babies paved the way for the likes of Jorge Ben, Dom Salvador, Trio Mocotó, and Azymuth: with fat, funky drum breaks, big round bass, touches of psychedelic Brazilian surf, and the kind of hazy soulful arrangements that could only emerge from Rio de Janeiro. Produced by one of Brazil’s most prolific musical minds, Durval Ferreira — whose songwriting and production credits also include Sergio Mendes, Deodato, Emilio Santiago, Ed Lincoln, Joao Bosco, Quarteto Em Cy, and Dila — the Cry Babies sound, while distinctly North American in influence, carries all the sunshine warmth of the samba jazz and bossa nova records that were coming out of Brazil at the time. With saxophonist Oberdan Magalhães responsible for the album’s arrangements, it’s no surprise that when Warner Music established themselves in Brazil in the mid-seventies, Magalhães was the man they asked to form a group (Banda Black Rio) to develop this new merging of stateside soul and Brazilian influences. Yet while Banda Black Rio’s tight, groove-heavy sound has awarded them cult status amongst lovers of instrumental Brazilian music, their first formation as Cry Babies is a lesser-known story. Since its first and only release, the original record has remained impossibly expensive and hard to find. This first ever vinyl reissue has been remastered and pressed to 180 gram vinyl, with a high-quality replica sleeve.
Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve…cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle’s work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.
One of Valle’s favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!
Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.
It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.
On the album we are presenting you (Brazil by Music – Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the ‘Cruzeiro’ airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle’s father was the manager and his brother was a co-pilot there).
Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Fly Cruzeiro’ since its release in 1972 (only 500 copies were pressed upon its original release in 1972). This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) packaged in a gatefold jacket and also comes with an insert containing rare pictures and liner notes courtesy of Marcos Valle himself.
Andean party music from the central sierra of Peru. TAYTA SHANTI’s long history of complex syncretism is expressed through its simple song structure. Minimal and raw, or layered with intricate arrangements, its unrelenting rhythm mesmerizes as much as it moves. 16 songs of pure folklore, spanning the late 1960s until the early 1980s. Compilation includes liner notes and photos. Instant mountain rave.
To call Marcos Valle ‘a legend’ of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the ‘golden era’ of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.
‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio’s Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or ’Os Grilos’ in Portuguese, which would also be re-recorded with vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records. The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically. Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art.
Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.
HUUGE compilation of music where Erick Cosaque was involved with during 1973 – 1995. Killer Gwo Ka / jazz crossovers from his early days to the more digital zouk bangers he produced in the 80’s / 90’s.. Almost never reissued or compiled before, this is a big one for the tropical music heads! Comes on a double LP -Including booklet with 8 pages of biography and track by track, translated in English, French and Créole.
A strong, rough, plump voice with the typical tone heard in the creole outdoor musical gatherings. Erick Cosaque’s voice is made to go over and above the two boula drums and the makè drum which are associated in general, along a few light percussions, with the Guadeloupean gwo ka. Whether heard at an informal street corner kout’ tanbou, during a traditional evening at someone’s place or in the musical léwoz of a community center, his warm yet imperial voice has been known by West Indians, in the islands and in the mainland through music, radio and television thanks to a career spanning more than forty five years – about twenty solo albums, forty or so participations and collaborations with artists of all generations and genres within the Caribbean music scene.
Although Erick Cosaque is a major figure in Gwo ka, he managed to avoid being part of any institutional system – no label, no alliance, no funding. His voice, one of the strongest in that genre, has been significant since the early 70’s for restoring the original spontaneous and rebellious spirit present in gwo ka with artistic creations starting in the age of vinyl and continuing in the digital era.
Erick Cosaque resembles Gwo ka, whose music has simple components but is deeply rooted in a complex historical and social context made of fights, pleasures, memories and desires.
“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning Homenagem, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age. Leonardo Boccia is a musi-cian, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio cul-ture and neuromusic. Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In No-vember 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own. But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by re-nowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: ‘Choro Fantasia’ — for guitar and berimbau –, ‘Canção para Iracema’, ‘Home-nagem’, and ‘Lenda do Sertão’. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Trib-ute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by chore-ography and visuals. Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national pop-ular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated. Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to ‘Terra e Povo’ — it has an almost pro-to-acid-house quality to it, while the synth washes on ‘Mãe Natureza’ with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album. Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinat-ing reissue of yet another forgotten chapter in Brazilian music.”
The gradual appropriation by the Creole populations of Western instruments and European melodic traditions (quadrilles, waltzes, polkas, scottish, romances, mazurkas), as well as the cultural contribution of committed workers from India laid the foundations of the modern sega.
This crossroads of influences was to continue to grow, especially from the 1950s, when the Birst phonographs arrived, playing all kinds of varieties but also jazz, soul, rock’n’roll, and even Cuban or Brazilian music.
For the Sega, these were the first steps towards a period of intense creativity that would cover the 1960s and 1970s. Amplified instruments arrived, and electric guitars, basses, drums and keyboards quickly replaced violins and accordions. Record production exploded and saw the advent of many micro-labels featuring genius arrangers such as Marclaine Antoine, Gérard Cimiotti, Eric Nelson, Claude Vinh San, or Narmine Ducap who explored the Sega in its many facets. Psychedelic keyboards, fuzz guitars and undulating basses invited themselves on the furious ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, to produce a unique style.
Here are some pearls from this golden age of the segas of Mauritius, Seychelles and Reunion Island that are compiled in this volume 2 for our greatest pleasure!
Official reissue of this Panamanian Latin-funk/soul classic by The Exciters from the early ’70s. The Pan-Caribbean workforce brought in to build the Panama Canal shaped the musical culture on the isthmus, and it became a hot-spot for new rhythms. Growing out of the combos nacionales scene, one of the most successful funk and soul groups of ’60s and ’70s Panama, Los Dinamicos Exciters (later The Exciters) was led by drummer Horacio `Ray’ Adams. Legendary in their day, the band were booked solid for years. Their core sound was Latin soul and funk (heavily influenced by James Brown) but they also played boogaloo, calypso and ska. The US Black Power movement struck a chord, especially in the Canal Zone, where Afro-Panamanians had long suffered discrimination. Co-founders of the Instituto Soul, the Exciters were the first to invite an African-American ‘soul queen’ to lead their carnival parade in 1971. Regular edition in red sleeve, limited to 400 copies.
Various Artists “London Is The Place For Me Vol. 7: Calypso, Palm Wine, Mento, Joropo, Steel & Stringband” (Honest Jon’s)
The latest volumes in this highly acclaimed series presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7: Calypso, Palm Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, string band, calypso, joropo, and mento. Features Lord Beginner, The Lion, The Mighty Terror, Dai Dai Simba, Willie Payne & The Starlite Tempos, The Mighty Terror, Louise Bennett, Marie Bryant, Nigerian Union Rhythm Group, Calypso Rhythm Kings, Bill Rogers, Lili Verona, Billy Sholanke, Lord & Lady Beginner, West African Rhythm Brothers, and Trinidad Steel Band. Sound restoration at Abbey Road; pressed at Pallas. Gatefold sleeve; full-size leaflets.
The latest volumes in this highly acclaimed series presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 8: Lord Kitchener In England, 1948-1962 is devoted to the great calypsonian Lord Kitchener. Gatefold double LP with insert, including numerous stunning photographs, and brilliant new writing by Kitch’s biographer, Anthony Joseph. Sound restoration at Abbey Road; pressed at Pallas.
Gabor Szabo’s singular style and authentic sound is on full display across a set of originals and choice covers highlighted by unusual instrumentation and ingenious arrangements. From the sitar-starring adaptation of “Paint It Black” to the Latin rhythms and bossa nova beats, Szabo’s savvy jazz guitar innovations shine throughout.
Collected from the jazz guitar guru’s mid-’60s output, this first ever reissue of The Best of Gabor Szabo exhibits his trademark transformations of fashionable hits of the time and also represents his enchanting original compositions.
Sommor Records present the first ever vinyl reissue of Synchro Rhythmic Eclectic Language’s Lambi, originally released in 1976. Impressive jazz-rock-fusion with progressive, funk, Afro-Caribbean and Zeuhl elements courtesy of multi-cultural French band Synchro. The band features drummer Steve McCall (Air, Cecil Taylor), sax player Jo Maka (Intercommunal Free Dance Music Orchestra), violinist Jean-Yves Rigaud (ZAO), electric guitar player Gerard Curbillon (Speed Limit), pianist Georges-Edouard Nouel (Noel McGhie & Space Spies), and bass player Louis Xavier (Ladja). You’ll find Zeuhl grooves (“Rigibo”), jazz-funk-breaks galore (“A.B.C.D.”), Afro-Latin-jazz (“Pasto”, “Rete”), library jazz funk (“El Gason”), and many more surprises. Originally released on the Moshé-Naïm label in 1976, here’s the first ever vinyl reissue, expanded to a double album including some essential bonus tracks taken from the recording sessions. Master tape sound. Original artwork in gatefold sleeve.
Sommor Records present the first ever vinyl reissue of Franck Valmont’s Et Synchro Rhytmic Eclectic Language, originally released in 1976. A fabulous French/West Indies Afro-jazz-funk-Caribbean-fusion album, originally released on the Moshé-Naïm label by poet-singer-painter Franck Valmont accompanied by multicultural progressive jazz-rock band, Synchro. Featuring Jo Maka (Intercommunal Free Dance Music Orchestra) on sax, Louis Xavier on bass and fuzz-bass, Georges Nouel on electric piano and organ, Gerard Curbillon from Magma-related prog-fusion band Speed Limit on electric guitar, and Yves Dolphin on drums. Includes “Diamant”, “Maléré”, and more. Remastered sound. Original artwork; includes insert.
This is the bonafide classic second album that Willie Colón recorded with Héctor Lavoe as his lead vocalist, one of the greatest salsa duos in history. It was a transitional period for Latin music in New York, and people questioned the recent fusions of Latin rhythms with Soul and R&B. ‘The Hustler’ featured a young and energetic band that included future Fania All Stars timbalero Nicky Marrero and African-American pianist Markolino Dimond, who wrote the tasty “Guajirón”. With their raw and edgy tones, Colón’s trombone lines shine on the record’s title track – a Latin jazz instrumental.
A reissue of Jorge Ben’s Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music’s iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother’s Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his “Mas Que Nada” became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben’s openminded approach saw him embrace aspects of bossa nova, the “Jovem Guarda” rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to “Unleash the Peacock” and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener “Zagueiro”, in which Ben salutes football center-backs in typically playful and poetic language; closing number “Jesualda” is a heady ballad of a chance encounter leading to a girl’s social climbing and “Para Ouvir No Radio (Luciana)” a love song with striking flute and string arrangements; Dadi Flavi’s bubbling bass and occasional string synths help keep the sound non-standard.
“By 1974, salsa was taking Colombia by storm and so the directors of the INS label (Industria Nacional Del Sonido Ltda), based in Medellín, Colombia, decided to create a band that would appeal to ‘salsómanos’ (salsa fanatics) and be able to compete with the area’s two larger labels, Discos Fuentes and Codiscos. Thus was born the oddly named Los Afroins (a contraction of Afro, indicating the roots of the music, and ‘–ins’, for the label name), an obscure, short-lived combo that would release two albums and six 45s. The repertoire focused on cover versions of hit Afro-Antillean tunes both classic and contemporary. Pianist Agustín Martínez ‘El Conde’, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging. INS artistic director Alfredo Linares ‘El Inca’, the famed Peruvian keyboardist and composer, oversaw the project and guested on piano for several tracks, doing some arranging as well. The vocals were handled by a pair of young as yet unknown singers, Lucho Puerto Rico and Ray Betancourt, who would later go on to more fame in the 1980s, the former with his own Lucho Puerto Rico y su Conjunto Sonero and Conjunto Son del Barrio, and the latter with Willie Salcedo, Reales Brass de Colombia, and Los Caribes. Óscar Toscano “El Márquez Argentino” (whose orchestra backed Palito Ortega in the 1960s) and Luis E Mosquera arranged as well, while the rest of the band was made up of INS-related studio musicians. Their first album, A Gozar Salsomanos Con Los Afroins, is a sought-after collector’s item and contains ten brassy, heavy-duty salsa gems that don’t let up for the duration of the record. There are covers of salsa hits by Ismael Rivera (‘El Nazareno’, ‘Orgullosa’), Los Ahijados (‘Virgen De La Cueva’, ‘Guayo, Pellizco Y Pata’), Roberto De La Barrera (‘Sabrosón’), Cheo Marquetti (‘Apriétala’), and even the smash pop hit by the French modern classical and electronic music composer Saint-Preux (a great instrumental descarga version of ‘Concierto Para Una Sola Voz’). In addition, there are two originals (‘Afroinspiración’ and ‘Cuídate’) that are equally hot. The whole package makes for a very satisfying party record that deserves to be more accessible and better known by today’s salsómanos who may have heard of Fruko y sus Tesos or Grupo Niche but have yet to discover Los Afroins.” –Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti’s Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock n’ roll hit South America in the ’60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece “Agora Ou Nunca Mais”, the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on “Bairro Negro” and “Sou”, and Mazzotti’s tender, hallucinatory version of “Feel Like Making Love” (made famous by Roberta Flack). Remastered.
180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti’s self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock n’ roll hit South America in the ’60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque “Eta, Samba Bom”, replacing Roberta Flack’s hit “Feel Like Making Love”, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
Future Afro-Latin jazz house from master percussionist, multi-instrumentalist and composer Gabriele Poso. A true multi-instrumentalist, Gabriele Poso found a particular affinity for percussion at a young age, studying in Puerto Rico and Cuba. His latest album Batik, to be released on Soundway, is once again entirely self-produced and features guest vocalists Nailah Porter, Nina Rodriguez, Quetzal Guerrero, and Sofia Rollo. Following a long-term collaborative partnership with Osunlade/Yoruba Records, as well as albums on BBE and Agogo Records, Gabriele Poso has garnered acclaim from reviewers and selectors, including Gilles Peterson. On Batik, Poso further develops and matures his sound — exploring his extensive roots in Afro-Cuban percussion, while delving into the realms of jazz and soulful house. Much of the album features Poso on not only vocals but many of the instruments — including percussion, guitar, and kalimba. With mixing by renowned Spanish DJ and producer Kiko Navarro, the lead single “Africa Linda” is an up-tempo live take on Latin house, featuring American-born soul singer Quetzal Guerrero on vocals. RIYL: Osunlade, Joe Claussell, Kaidi Tatham, Kerri Chandler, Masters At Work, Ron Trent, Cotonete, Kiko Navarro, Atjazz.
100-year-old Walter Gavitt Ferguson from Costa Rica is a living legend, a Calypsonian of mythical proportions. Rooted like an old tree on the caribbean shore, he has never left his home town to look for fame, instead fame came looking for him. Throughout eight decades his musical gifts have attracted people from near and far, contesting Calypsonians, travellers, musicologists, musicians, pilgrims and the president of the Republic. They once even moved a recording studio to his house, as he refused to go to the city.
But many years before that, Ferguson used to sell his legendary self recorded cassettes to travellers and music lovers from all around the globe. He never kept a copy and with age startet to forget many of old compositions. A recently started, international „Tape Hunt“ was able to locate more than 25 such tapes in Canada, Costa Rica and the United States and rescued 60 of his forgotten songs. Vol. 2 of this tropical treasure is now available, resurrected directly from original cassettes of the Calypso King.
We’re proud to introduce the new Superfly reissue of Mind-blowing session of Spiritual Jazz recorded in NYC in 1984 led by Haitian genius Alix Pascal blending traditional Ra Ra elements with modal/spiritual melodies. Fantastic listen all through, stand out for us ‘Tribilasyon’. As usual, beautiful quality repress with paste on covers made in Japan, Obi and 180grs vinyl, limited to 1000 copies only!
A true Balearic/cosmic LP. Columbian brothers Elkin & Nelson’s 1974 debut double album ‘Angeles Y Demonios’ is the perfect blend of traditional Latin music, psychedelia, fuzz, glam, ethnic rhythms and progressive rock. It wasn’t until the late 1980s Balearic explosion that the brothers’ unique musical vision struck a chord with those outside of Spain. This classic has been remastered and reissued and features the original 1974 gatefold sleeve and artwork.
Far Out Recordings present a reissue of Azymuth’s Light As A Feather, originally released in in 1979. Azymuth’s career-defining LP Light As A Feather returns. Home to their worldwide disco/fusion hit single “Jazz Carnival”, the samba-doido staple “Partido Alto”, and the proto-deep house masterpiece “Avenida Das Mangueiras”, this album typifies the trio’s tireless innovation in the fields of jazz, funk, samba, and cosmic music perhaps more so than any of their other ground-breaking records from its era. Their first release on Milestone Records in 1979, it quickly became one of the best-selling LPs of the year, staying in the UK Top 20 for eight straight weeks with more than half a million copies sold. An incredibly well thought out album both in pace, song selection, and musicality, Light As A Feather marked a maturing of the band as they began to rightfully utilize the studio as an instrument itself, embracing numerous mixing, and recording techniques not yet common for the time, as well as pioneering the use of the Big Muff and Dolby System to great effect. The result is an album that endures to this day as a samba/jazz-funk masterpiece. First reissued in 2012, the Far Out Recordings edition of this seminal recording was remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth. This latest version is the first ever issue to be complete with a download card that that gives access to previously unreleased tracks, including the incredible full-length version of “Jazz Carnival”, Credits: José Roberto Bertrami – keyboards including Fender Rhodes, Arp 2600, Hammond B3 Organ, Mini Moog, Arp Omni, Vocoder, Oberheim 8 voice, vocals, percussion; Alex Malheiros – bass, guitar, vocals; Ivan “Mamaõ” Conti – drums, ARP 2600; Aleuda – percussion. 180 gram vinyl; Includes download card which includes remixes from house stalwarts Theo Parrish, Ashley Beedle, and Mark E.
Far Out Recordings presents a reissue of the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced “Jee-la”). Having reportedly died in a car crash shortly after the album’s release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind gives us a picture as good as any, of a powerful feminine soul at the top of her game. The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: “Friend, look out! Because when this girl starts to sing, you’re in trouble. Hold the railing so you don’t fall down the stairs, because she’s coming this way and shaking up everything.” Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as Os Grillos (The Crickets), Dila is a rare glimpse into the authentic soulful samba sound of Rio’s favelas in the late sixties and early seventies. A blast of funky, percussive Brazilian breaks, scorching hot brass, and swing-laden piano, the music is as iconic as the album’s stark cover, as is clear on opener “Inez,” composed by The Crickets bassist Romildo. There’s a fantastic interpretation of the Ivan Lins classic “Madalena” (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic “O Morro Não Tem Vez,” and a number of sunny original compositions by Madeiros, whose other writing credits include music for Marcos Valle, Wanderlea, Evinha, and Dom Salvador. With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue. Personnel: Durval Ferreira – guitar; Sidney Marzullo – piano; Romildo – bass; Fernando – drums; Horacio – percussion; Christ – brass. 180 gram vinyl.
Omara Portuondo, the leading lady of the Buena Vista Social Club, is one of Cuba’s most celebrated voices. Often hailed as the Billie Holiday of Cuba, Omara’s album, originally released in 2000, takes as its theme ‘Unrequited Love – love lost and found’: recorded in Havana with a dream band, orchestrated by Demetrio Muñiz, including Rubén González, Cachaíto López, Guajiro Mirabal and Jesus ‘Aguaje’ Ramos. With special guests Ibrahim Ferrer, Compay Segundo and Eliades Ochoa.
It has now been remastered from the analogue masters specially for this first time ever vinyl release.
Originally released by RGE in 1970 in Brazil, ‘É Ferro Na Boneca!’ features 13 songs composed by Luiz Galvão and Moraes Moreira. This record shows the roots of the group, moving through psychedelics, edgey pop, rock and Tropicália.
After writing ‘É Ferro Na Boneca!’ their music began to move towards MPB due to the influence of João Gilberto, who began working with the group. In 1972 they released their incredible ‘Acabou Chorare’ LP, which came top of Rolling Stone Magazine’s list of 100 Greatest Brazilian Records (published in 2007).
Alternative Fox present a reissue of Joyce, originally released in 1968. The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe. Her father was a Dane that had settled in Brazil, but she was raised by her mother and step- father in a typical Portuguese-Brazilian household. Since her older brother was friendly with leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism in 1967, shortly before her controversial song “Me Disseram” reached the finals of Rio’s second International Song Competition. The following year, her self-titled debut album was released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs by her rising-star friends, including Caetano Veloso and Marcos Valle.
Sonor Music Editions present a reissue of Alberto Baldan Bembo’sL’Amica Di Mia Madre, originally released in 1975. This spellbinding soundtrack by the cult maestro Baldan Bembo is another exotica jewel from the Italian film music golden era. Original music for the erotic drama movie L’amica Di Mia Madre starring Barbara Bouchet and Carmen Villani, and directed by Mauro Ivaldi. Stunning, sophisticated, and groovy orchestral themes and arrangements with refined lounge softcore vibes/soft jazz, as well as psychedelic cues with tribal, exotic, and disco-driving moods. Superior score music alongside the strict partner Lingua D’Argento (SME 054LP, 2018) with dreamy orchestrations and Fender piano/groovy samba beats and bouncing jazz/outstanding Bossa styles and bewitching disco strings/Brazilian-influenced sound with exquisite tropical suites, and so on. Gatefold sleeve; includes an A3 poster reprint of the original film lobby card; edition of 400.
In the 1970’s, an outsider multi-instrumentalist known as Luie Luie created a conceptual album titled “Touchy”. The album consists of instrumental tracks each containing their own monologue that connects them to the concept of Touchy through dance or emotions. Luie plays every instrument on the album in his unique style that mixes Jazz, Latin, and Funk for a very unique sound that cannot be easily described. His performances are very raw and unpolished, and his performances are at times very unconventional.
Several hundred LPs were privately pressed and sold directly by Luie himself in 1974 and have become a rare collectors item, fetching several hundred dollars for an original copy. The album has been in such demand that European bootleggers pressed an unofficial run of LPs. Toxic Toast Records brings you the first ever officially licensed vinyl reissue of “Touchy” by Luie Luie. Limited to 500 on gold vinyl.
Street Soul Brasil, compiled by Augusto Olivani features songs from prominent artists of the era’s urban street movement, at their creative epochs. A great compilation that reflects the influence of international pop at the time!
Part mellow pop, part R&B, adorned by melodic drum machines and hints of national rap, this noteworthy work comprises of ten original tracks fully licensed and extracted from the master tapes for your listening pleasure. It’s a soulful compendium of sounds, memories, and feelings from Augusto’s own universe, translated into his first ever compilation under the Hello Sailor Recordings catalog.
Augusto Olivani has been digging through Brazil’s forgotten music treasures since a young age.
He is best known for his work as a DJ, digger and producer under his musical alter ego, Trepanado, head of Selvagem (legendary party running for the past 8 years) and captain of his own imprint Selva Discos.
Grosso! Recordings present Rumbero Mayor: An Overview of the Legendary Afro-Cuban Conguero That Changed Latin Music and Jazz Forever, a collection featuring Chana Pozo. Some tracks have been remastered and restored and some are presented on vinyl after many years. Format and selection designed for DJs, collectors, and general public. Complete liner notes Spanish/English by collector and DJ, Pablo “Bongohead” Yglesias. Edition of 500.
“The story of Luciano ‘Chano’ Pozo González (born January 7, 1915 in Havana, died December 3, 1948 in New York City), is the stuff of myth and legend, of triumph and tragedy, and like that of several similar seminal figures in the history of the music of the Americas (Robert Johnson comes to mind), someone born of African ancestry and humble economic origin ends up influencing global popular culture and changing the course of music as we know it but then dies all too young to realize their full potential or enjoy the fruits of their labor. But who was Chano and what makes him so important? He was a multi-talented percussionist, composer and dancer who demanded satisfaction in life and lived it to the hilt. More importantly, he was well aware of his African roots and figured out how to blend the ancient and the modern in Latin music such a way as had never been done before.” –Pablo “Bongohead” Yglesias New York City, May 2019
The impact of Airto Moreira in both the world of American jazz and in Brazilian music is unparalleled. At the start of the 1970s Airto was invited to join Miles Davis’ groundbreaking ‘electric’ group, which with albums such as the seminal ‘Bitches Brew’ helping Davis regain his title from John Coltrane as the most important jazz artist of all time.
Two years later Airto helped establish two of the most important jazz fusion groups of all time: Weather Report, with Wayne Shorter, Joe Zawinul and Miroslav Vituous; and Return to Forever, with Chick Corea, Stanley Clarke and Flora Purim. Airto Moreira also began his solo career in the USA in 1970, and alongside his wife, the singer Flora Purim, and Brazilian artists such as Hermeto Pascoal, Sivuca, Deodato, Raul de Souza, Azymuth, all played a major part in the Latinised sound of American jazz fusion throughout the 1970s.
The album ‘Samba de Flora’, including the seminal jazz dance title track, is a masterpiece of jazz and Brazilian fusion and features Airto Moreira alongside Flora Purim, fellow Brazilian artist Raul de Souza and heavyweight USA jazz musicians Alphonso Johnson, percussionist Don Alias (from Stone Alliance), Cuban conga player Cachete and Argentinian pianist Jorge Dalto.
Elemental Music, together with Universal Music, proudly presents
a new LP reissue of the long unavailable album Jóia by Caetano
Veloso. Released simultaneously with Qualquer Coisa (which was also recently reissued by Elemental Music), Jóia (1975) is considered one of Caetano’s best efforts after returning from exile in London. Much like Qualquer Coisa, the album’s sound is quiet, soft, and mainly acoustic. If anything, Jóia comes across as even softer and quieter than the aforementioned album. Among the most beautiful melodies on the record are “Lua, Lua, Lua” and “Guá”. Unlike Qualquer Coisa, almost all of the songs here are Veloso originals, though there is also an unusual interpretation of the famous Beatles tune “Help!”. The soft tone of the album and some experimental tracks make Jóia less directly accessible than other Veloso classics, such as his following album, Bicho (1977). Nevertheless, the album is superb and many fans consider it one of the finest from his ample discography. Contained here is the original cover art which was censored by the ruling Brazilian military dictatorship at the time.
Luiz Carlos Fritz (Fritz Escovão), João Parahyba and Nereu Gargalo aka Trio Mocotó are most well-known as Jorge Ben Jr.’s backing band. They played on several seminal Jorge Ben LP’s – his self-titled from 1969, Força Bruta in 1970 and Negro É Lindo in 1971.
Trio Mocotó were also key players in the development of the ’samba rock’ sound – a fusion of samba, soul and rock influenced by music from the USA.
Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary, Azymuth.
Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound.
The album moves from mellow soulful moods, into screaming disco-jazzfusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.
This is actually the first Azymuth album that we have released on Mr Bongo, which came as a surprise to us too.
Grandeza, the debut album by Sao Paulo’s Sessa, points to new, subtle directions for modern Brazilian music – a deep, minimalist, almost insinuated use of the rich textures that define the songwriting history of Brazil, one which Sessa now joins among its most promising new voices. His songs are sung in Portuguese, with visceral, sensual lyrics in the vein of Caetano Veloso, and the melodic flourishes of Tom Jobim and Arthur Verocai. However, the music gets a deliberate minimalist treatment rarely found in contemporary Brazilian music, more reminiscent of the bareness of Leonard Cohen, with touches of tropicalia, psychedelia, and the mystic jazz of Moondog and Pharoah Sanders. Recorded in various locations between São Paulo and New York City.
First vinyl reissue in over 45 years for a long-lost, pivotal jazz fusion record! Natural Feelings, originally released in 1970 on the thinly-distributed Skye label, marks Airto’s debut as a bandleader and captures the percussionist right at the time he recorded Bitches Brew with Miles Davis, and right before he joined Weather Report for their first album. Indeed, the line-up on this album reflects the fact that Airto had one foot in the NYC jazz scene and one foot in his native Brazil, as bassist Ron Carter joins Airto’s countrymen Sivuca and Hermeto Pascoal, along with Airto’s wife Flora Purim. The music’s a fascinating blend of jazz-funk-fusion and Brazilian tropes, here presented on 180-gram black vinyl, housed inside the original wild, Hieronymus Bosch album art. Limited to 500 copies!
Rooted in Colombia and based in New York, Combo Chimbita lives in the future. Powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta began experimenting with different traditional musical styles during latenight residencies at Barbès in Brooklyn. Exploring Afro-Caribbean styles through improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals by Oliveros, who tightens the rhythm with her guacharaca. “Her voice is so powerful that it leads us in that direction,” says Prince of Queens.
The band draws on “traditional music from everywhere: Panama, Caribbean, Colombia, tamboritos, ‘70s funaná from Cape Verde, kompa from Haiti, cumbia, dub and reggae from Jamaica. We try to incorporate it in a way that if feels ours, so you hear these influences there but they come from our background, and our background is heavy rock, psychedelic funk and soul,” says guitarist Niño Lento. As Prince of Queens puts it: “Combo Chimbita is like a comeback to that raw punk energy, back to where it all started for me. But then obviously with the elements that we’ve grown to love and appreciate: the African diaspora and Caribbean and South America.”
Guerssen Records present a reissue of Miguel Abuelo & Nada, originally released in 1975. A stunning blend of psychedelia, hard-rock, and prog-folk courtesy of Miguel Ángel Peralta, aka Miguel Abuelo, the legendary Argentinean rock pioneer. Recorded and released only in France in 1975, featuring some top Argentinean musicians such as killer guitar player Daniel Sbarra. Miguel Abuelo was a musician, poet and singer from Buenos Aires, Argentine. During the ’60s, he was the leader of early psychedelic band Los Abuelos de la Nada, who released a highly sought-after 45 in 1968. In the early ’70s, Miguel, a free spirit who left Argentina for Europe and ended up busking in Paris. There, he formed a band called Nada featuring guitar player Daniel Sbarra and other expat Argentinean musicians. Supported by their producer, Moshé Naïm, who was fascinated with Miguel’s personality and voice, they registered in France their only album, recorded circa 1973 but actually released in 1975 on Moshé’s own label, just when the band had decided to part ways. Housed in a beautiful gatefold cover depicting Miguel in full hippie-fashion along with his little child Gato Azul, Miguel Abuelo & Nada is simply one of the best Argentinean rock albums ever recorded. Cleary influenced by bands like Deep Purple, Led Zeppelin, Jethro Tull, and the like, Miguel and Daniel managed to create a very unique sound, powerful yet delicate, highlighted by Miguel’s heartfelt vocals (sometimes treated as just another instrument), outstanding guitar playing by Daniel (listen to him doing one of the early known examples of proto-metal tapping on “Tirando Piedras Al Río”), well-crafted songs and deep, poetic lyrics. The album was recorded at a state-of-the-art studio located in the countryside and was carefully produced: electric and acoustic guitars, bass, drums, flute, keyboards (including Moog), cello, violin. Sadly, the release date kept getting delayed, the band had to go on tour without the album in the street and when it was finally released, Miguel and Daniel had decided to take separate ways. During the ’80s, Miguel obtained mainstream success in Argentine until his death in 1988. Miguel Abuelo & Nada is now widely regarded worldwide as a legendary, cult album. Master tape sound. Original artwork in gatefold sleeve; includes insert with lyrics, rare photos, and liner notes by Daniel Sbarra.
Mad About Records present the first vinyl reissue of Ronie & Central Do Brasil’s self-titled album, originally released in 1975. Sweet soul funk from ’70s Brazil. Ronie, aka Ronaldo Mesquita, was the drummer of Bossa Três Combo. This album has a smooth grooves 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. 180 gram vinyl.
Sweet and breezy, light and jazzy, with plenty of warm touches – and one of the only albums ever releases by Edson Fredrico. ‘Edson Frederico E A Transa’ features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid ’70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts – and tracks include ‘Ginga Gire Gire’, ‘Sacode Carola’, ‘Tema De Heloisa’, ‘Sambane’, ‘Garota De Copacabana’ and the breakbeat classic ‘Bobeira’. Comes on 180 gram vinyl.
One of Ze’s finest albums in our opinion, originally released by Continental Brazil in 1976 – a tough one to find at a good price in its original form now.
‘Estudando do Samba’ (or ‘Studying The Samba’) is a post-Tropicalia studio experimentation laiden with layers of hypnotic percussion, effects & samples that deconstructs the ‘samba’ form. Recorded during what was arguably his most creative period.
David Byrne found the record in Rio in the late 90’s and included several songs on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was not recording or touring much; playing low-key shows in Sao Paulo and contemplating a move back to Irará to work at a service station owned by one of his cousins. Byrne’s project helped to reignite his career and he hasn’t looked back since.
Cornbread Records presents a reissue of Bola Sete’s debut, Aqui Esta O Bola Sete, originally released in 1957. The Brazilian-born master guitarist Bola Sete (literally translated to “seven ball” and a snooker reference) originally studied music at the conservatory of Rio while playing in his own jazz sextet and small samba combos. Sete spent time in Italy and also absorbed jazz influences as he was an avid fan of Charlie Christian and Django Reinhardt. It was these influences, along with the local samba and bossa nova flavor he was absorbing on a daily basis in Brazil that form the foundation of his sound. Aqui Esta O Bola Sete combines those influences beautifully in a perfect jazz samba setting, showcasing a fully-formed artist who had been a professional musician for years before releasing this album. Sete counted among his admirers and fans such disparate legends as Dizzy Gillespie and John Fahey, and one listen to this masterful debut will tell you why. 180 gram vinyl.
Gordon Henderson’s musical career began in various teenage bands, performing at talent shows and dances on the island of Dominica (where he was born). In 1970 he relocated to Guadeloupe where he became the English speaking “Caribbean Soul” singer of the group “Les Vikings”. With “Les Vikings” Henderson enjoyed international hits and toured all over the Caribbean and Europe. Through the next four decades Gordon went on to write, produce & play with various bands and artists. Enjoying tremendous record sales and receiving numerous awards for his work at home and abroad.
Now we’re taking you back to 1973 when Gordon decided to start his own band. He asked his former high schoolmate and co-musician Fitzroy Williams to select the best available young local musicians…soon after EXILE ONE saw the light! Mixing funk, reggae, calypso and Afro-Caribbean fusion in their set, Exile One performed a popular repertoire that was deeply influenced by Sixties soul music and bands like Osibisa & Earth, Wind and Fire.
Because French Antillean audiences wanted to dance instead of just watch a concert, the band “Creolized” their repertoire by introducing a mix of Haitian and Calypso music styles in combination with a full horn section and modern instruments like synths. The bands’ fusion of the traditional with the contemporary would turn into a new style which became a turning point in World Music… Cadence-Lypso was born and it was a HUGE success! Exile One and their Creole dance formula would later have a profound effect on popular World Music genres like Zouk and Soca. Exile One released several successful albums for the equally influential label Disques Debs and in 1975 they became the first Créole language act to sign a major recording contract with the French label Barclay (today part of the Universal Music Group). Exile One went on to receive several gold records.
The release we are presenting you today (their self-titled debut from 1974) became an instant hit. With a lot of airplay and intense touring, Exile One had in no time become one of the most influential Caribbean bands of its generation. The recording itself was done by the legendary producer Henri Debs, whose studio and label helped bring Créole music international recognition. The music on this album is rich, diverse and colorful in musical styles; from Island Funk stompers to bass-organ driven Reggae grooves and soulful ballads influenced by American greats like Otis Redding & James Brown. The cover depicts the band dressed in self-designed Afro gowns, holding large dried beans of a local tropical tree to spell the band name. Deeply inspired by the Pan-Africanism movement, the band’s lyrics reflect the social and political spirit of the post sixties.
Tidal Waves Music now proudly presents: the official reissue of this highly influential World Music classic, back available on vinyl for the first time since 1974. Available as a deluxe 180g LP set (500 copies), with an insert containing liner notes & exclusive pictures from the personal archive of Gordon Henderson.
Masterful ‘60s pop by a jazz guitar guru! Not many jazz artists were interpreting popular songs in the late ‘60s, but Hungarian-born Gabor Szabo looked past the oft-covered standards to put his trademark jazz transformations on a set of fashionable tunes on 1969, including major hits for the Left Banke, the Beatles, and more songs that his contemporaries neglected.
Guitar master Szabo’s 1969 platter of folk and pop music touchstones is highlighted by the rock ’n’ bossa spin on “Sealed With A Kiss”! Pressed at RTI, on colored vinyl!
Title may not arrive until April 1st. Feel free to email or call to check arrival date
This Claus Ogerman-arranged masterpiece was the debut album from the legendary Brazilian composer/pianist, featuring landmark performances of “The Girl From Ipanema”, “Once I Loved” and “Corcovado”.
1982, Brussels: Living on busking wages and next door to Tuxedomoon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo’s forward-thinking mile marker as a modern-day masterstroke.
Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of the Tropicália art movement, which took place in Brazil in the late 60’s.
The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.
The songs on Veloso’s album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.
Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.
The Third Man vinyl issue has been remastered from original mono mixes by Warren Defever and Bill Skibbe at Third Man Mastering in Detroit, Michigan and sound as warm and rich as the first pressing. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.
Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued.
The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’.
Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.