Mad About Records present the first worldwide reissue of Hareton Salvanini’s soundtrack for Xavana, Uma Ilha Do Amo, originally released in 1981. Rare Brazilian album of the obscure film Xavana, Uma Ilha do Amor mixes elements of jazz, bossa nova, and psych. Hareton Salvanini creates a record full of groovy guitars, refined strings, and delicate orchestral sounds. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. In this case, 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. Deluxe reissue in thick carton cover; obi.
Mad About Records present the first worldwide reissue of Syncro Jazz’s Live, originally released in 1982. 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 Aguiar. 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, with the ensemble he released the LP Live, along with the musicians Lilu Aguiar (piano), Peter Wooley (bass), Vidal (sax, flute), Dagmar (trumpet), and Ronny Machado (drums). In the repertoire, the songs “Pro César”, dedicated to pianist César Camargo Mariano, “Winter Knows” 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 and Black Jazz Records. Rare Brazilian spiritual jazz. Legendary sessions produced by Amado Maita. Reissued from the original master tapes. Thick cover; obi; deluxe, numbered limited edition.
Gideon Nxumalo’s Jazz Fantasia is probably the rarest release in South African jazz. Along with Chris McGregor, Nxumalo helped pioneer the pre-exile South African jazz sound. Jazz Fantasia — originally released in 1962 — is widely regarded as a seminal South African jazz record. The record features legendary jazz altoist Kippie Moeketsi and a very young Dudu Pukwana. Pukwana plays sax in a similar style to Albert Ayler; Moeketsi was a colossal South African jazz figure during this time. 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. Edition of 500.
Mad About Records present a reissue of Mike Selesia’s Flavor, originally released in 1976. This is cool jazz album all the way around. From the black-and-white, hand-drawn cover, 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), Flavor has 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 press peers. Original released in a very limited issue — rumor has it that only 300 were pressed — this album was handed out at their shows and sold only 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. One of the rarest spiritual jazz LPs ever!
Mad About Guerssen present a reissue of Kak’s self-titled album, originally released in 1969. A west coast classic back on vinyl at last. Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream. The oddly-named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values, and the brilliance of its song craft, with a full playlist of compelling material like “Electric Sailor”, “Lemonaide Kid”, and “Trieulogy”. Kak can stand nobly alongside records like Surrealistic Pillow (1967), Electric Music For The Mind And Body (1967), Sailor (1974), or the first Moby Grape album (1967) as one of the most satisfying listens of the late 1960s SF rock renaissance. This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe-Dave Damrell, and Chris Lockheed. Housed in heavy cardboard sleeve plus obi; Color, four-panel insert with photos and liner notes.
Mad About Records present a reissue of Johnny Griffith’s The Geneva Connection, originally released on the Detroit Geneva label in 1974. Detroit jazz-funk, hard-to-find — an extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album Together, Togetherness on RCA (1974). 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, a member of the prestigious Motown rhythm section Funk Brothers at the time, covered the 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. 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 (1964). 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”. 180 gram vinyl; Heavy cardboard sleeve with obi.
Mad About Records present a reissue of Reggie Andrews and The Fellowship’s Mystic Beauty, originally released in 1969. ’60s jazz holy grail LP out of California — a mythical album on many jazz collector’s want-lists. This LP is on the extremely limited and sought-after private press label HME. It has deep Latin, Afro/Cuban-influences, and consists primarily of acoustic jazz pieces. Influences also 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 LA 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, served as an “electronics consultant” for Donald Byrd, and took to mentoring The Pharcyde and J Dilla. 180 gram vinyl; Heavy cardboard sleeve with obi.
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.
Mad About Records present the first-time reissue of Robson Jorge 1977, an MPB/Brazilian soul album form 1977. One of the most important background figures of Brazilian soul in the ’70s and ’80s arranger/producer/composer/instrumentalist Robson Jorge, together with his partner Lincoln Olivetti defined the sound of the genre. While Olivetti took most of the fame, Robson Jorge was perhaps the mastermind of the duo, having doubtlessly influenced Tim Maia, but being obscured by his own problems with alcohol (which would finally conduce to his precocious demise). The rare Robson Jorge 1977 LP is a testimony of his genius, Born in Rio de Janeiro, he started out in music playing the acoustic guitar that belonged to his brother at age 11. Before turning 15, he was already playing at balls and even recording sessions. By the mid-70s played keyboards on Tim Maia’s band (Seroma). Later on that decade, met with keyboardist/arranger Lincoln Olivetti, establishing a solid partnership and making songs recorded by countless artists. Robson and Lincoln were in charge of writing the arrangements for most of the big MPB stars in the ’80s, which granted them fame, money, and hard critic reviews that accused them of turning MPB into lame pop. Robson Jorge died alone and forgotten in 1992.
Toni Tornado’s legendary funk soul album, from 1972. Toni Tornado is a black Rio masterpiece, reissued here for the first time on vinyl. Son of a Guyanese father and a Brazilian mother, at eleven years old Toni ran away from home and ended up in Rio, where he made a living selling peanuts and shining shoes. Tony began his artistic career in the 1960s with the stage name Tony Checker, lip-synching and dancing on Jair Taumaturgo’s Hoje é dia de Rock. In the 1960s, he traveled to the United States, where he lived for five years in New York, serving as a drug dealer and pimp, whilst pretending to be an employee of a car wash. At that time, Tony met another Brazilian in the form of singer Tim Maia. Back in Brazil, he worked in the group of Ed Lincoln and also sang under the pseudonym Johnny Bradfort, the owner of the club forcing him to pretend to be a foreigner. In 1970, he adopted the name with which he came to be known, Tony Tornado. Influenced by James Brown, Tony was one of the artists who introduced soul music and funk into Brazilian music. Brown’s in-your-face approach to racial pride resonated in the ghettos as well as the slums abroad. Many black people, all around the world, embraced the consciousness and music of the black power movement. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases “black power”, “brother”, and “black is beautiful”. They played soul records at their bailes (dances) and incorporated the lyrics and sounds into their music. Maia, the godfather of “música soul”, spent five years in the United States, coming to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated these influences into his songs. By the 1970s, other Brazilian musicians, such as Tony Tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor, and Gilberto Gil had begun making soul records. This new music spoke to an experience both universal and unique at the same time. By the end of the 1970s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity.