Mule Musiq present a reissue of Skymark’s Primeiras Impressões, originally released in 2013. It is really rare that Mule Musiq does not offer new music for fresh imaginations. In the label’s 15-year history, there only been a few reissues in the widely ramified discography: Lydia Lynch in 2006, Hans-Joachim Roedelius in 2013, Fumio Itabashi in 2018, and now with Skymark with his jazz album Primeiras Impressões. The Italian producer, composer, record collector, and Modern Sun Records label co-runner, that lists to the name Marc Friedli when he hands his tax report to the government, is no stranger to fans of modern Brazil, disco, fusion, house, Latin, jazz, funk, soul, and all other organically swinging music that grooves deep. Since 2007, he has released a string of albums and EPs on his own label as well as on imprints like Neroli, Mukatsuku Records, or Rush Hour, showing his impressive electric piano keyboard skills and unique style with an array of vintage synthesizers like ARP, Prophet, Moog, Roland, or Korg. On his privately pressed and strictly limited album, Primeiras Impressões, he delivered nine, gently jazzy tunes that process his experiences in the heat of Rio De Janeiro. They are intensely spiritual, they avoid ornamentation, and they bow before jazz history with a gentle respect, while adding an elegantly explorative and thrillingly uplifting freshness to the genre with deep discreet minimal funk and light-as-a-feather piano-melodies, as if the keyboard were a saxophone.
Inspired by as he puts it, a desperate need for world healing, producer Joaquin Joe Claussell assembles a gathering of music that extracts its inspiration from tapping into the vibration guided from upward deep into the cosmos. The result is a story that encompasses rhythm, melody and love-all of which he believes are movements that are ultimately orchestrated by the universe. In part, his purpose is to lure the listener with him on a journey in paying homage to the infiniteness of outer space, as well as to remind one another of how we are connected to something much bigger than we are. In his words, “I think it’s important that we citizens of the universe learn to understand the interplanetary system-and the blessings that it bestows upon us all-maybe then we could figure out how to live in harmony with one another and in peace.
For Joaquin, the universe represents a never-ending canvas for creativity. As he puts it “ we are surrounded by this boundless frame for us to paint in between what ever we feel. Acknowledging that there is so much freedom offered to us is where Joaquin extracts a huge part of his inspiration. In Joaquin’s view, with such limitless space available-there is no point in anyone repeating himself or herself – or even to copy someone or something makes absolutely no sense. He goes on to say, “Inspiration comes in all different forms. However, taping into your own source of ideas and staying true to oneself, not only makes the world that we live in more interesting, but also, represents true evolution. This kind of freedom as he see’s it, can give us a better understanding of our true potential as human beings and can lead peace.
This compilation appropriately titled “Thank You Universe “includes offerings by the likes of his musical brothers Kuniyuki Takahashi (Sapporo Japan) and Louie Vega (New York)-by the way of songs that Joaquin remixed for them. There are also contributions from incredible musicians and artist for whom without this project would no be realized. Together we co-conceived the outcome with the cosmic vibrations of the universe. It is a compilation that was shaped with the utmost appreciation for the cosmos and what it gives to the existence to life here on mother earth and to other life forms from fare beyond. It is music meant to heal the soul, move the body and Inspire the minds of those who have been searching for a sign, which shows that, rhythm and sound, both ultimately deriving from the universe, is more than just a past time fun thing- it’s is all about Life.
2019 is Mule Musiq’s 15 years anniversary. They’re releasing twelve 12-inches with Stefan Marx’s artwork to celebrate. The ninth release is from one of the best newcomers in the modern deep house scene, Chaos In The CBD. These two new songs are ambient break beats tracks. It’s a kind of their new style. If you like Boards Of Canada or Global Communication, you will love it.
2019 is Mule Musiq’s 15 years anniversary. Their seventh release of 2019 is Roman Flügel’s debut single on the label. The title track on side A is an electric soul house tune and the B side is hypnotic jazzy deep house. It’s reminiscent of Kuniyuki.
2019 is Mule Musiq’s 15 year anniversary. The label are going to release twelve 12″s with their friend artists and Stefan Marx making the collectable artwork. The fifth release of 2019 is Losoul’s debut release on Mule Musiq. Losoul is one of the nicest German house producer since end of ’90s. Two first-class deep house tunes.
Mule Musiq present the first vinyl reissue of Fumio Itabashi’s Nature, originally released in 1979. The legendary Japanese jazz pianist’s first solo record ever, Nature was recorded at Nippon Columbia’s first studio in Tokyo from March 13-15 in the year of its release. It features Itabashi making feverish love with the piano and he shares the studio with the great bass players Hideaki Mochizuki and Koichi Yamazaki, drummers Kenichi Kameyama and Ryojiro Furusawa, soprano saxophonist Yoshio Otomo, and vibraphone wizard Hiroshi Hatsuyama. They all joined him to perform his very own songs, composed by Itabashi himself and produced by Ryonosuke Honmura, who also produced Japanese jazz heroes, like saxophonist Keizo Inoue, during his career. Nature is fresh, propulsive, twitchy, and melodious from the first to the last tone. Sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors — from John Coltrane to Miles Davis, from Thelonious Monk to Art Blakey. Nature also shows how deep Itabashi studied the history of the genre, while keeping his very own vision of jazz alive. The man that made his professional debut as a member of the Sadao Watanabe Quintet in 1971 and who was also a member of the Elvin Jones Jazz Machine world tour from 1985-1987, plays the piano in all tempos, from a nervous high-flying quickness to a deep blues-style slow. Besides the traditional jazz flavors, you get a feeling of mind-expanding spiritual jazz, that grand masters like Pharaoh Sanders or Gary Bartz, turned into a sacred music genre. A master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations. It extends the jazz history with a fine balance between tradition and innovation. And it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by Itabashi before he and his combatants entered the studio. And maybe that’s the mystery of these timeless five at times epic recordings: all notes written on paper, but each musician had the freedom to dance with them in his very own unique way.
Children are laughing and playing in the back, a baby screams happily: handsome field recordings welcome the listener to the final chapter of Fred P’s Fp-Oner trilogy for Mule Musiq. The New York City native’s 7 features tunes for deep meditative club use and beyond. 7 brings the listener house music full of cosmic realities, odd jazzing moments, Japanese spoken word pop, synth spheres for ambient use, and an overall outer-national atmosphere that handsomely dances between roughness and subtle, tuned-in deepness. Fred P explains: “I chose to base this project on numbers in order to impart a bit of depth and substance. ‘5’, ‘6’ and ‘7’ have a meaning in both the literal and esoteric sense. We as a species are a combination of matter and energy, so it is a matter of relating the two in harmony. . . . It’s like a testimony to the human condition and how we relate to treat and mistreat one another. . . . So rather than doing a project that highlights ego posture, my intent is more about what can I give to the listener.” At large, the trilogy is a journey inward — compelling, mesmerizing, and enchanting. Fred P produced the final chapter mostly in his studio in Berlin on various synths and with a bunch of mysterious samples, all later organized and programmed in Ableton. Fred P explains further: “This project has a beginning, middle, and end. The record 5 (MUSIQ 048CD/187LP, 2015) was intended to introduce a meditative energy within a rhythmic construct, as the number ‘5’ represents the dynamic and unpredictable. . . . The album 6 (MUSIQ 055CD/200LP, 2016) is of an earthly and more harmonious discord. I attempt to bring the inner conflict in the form of natural unnaturalness. The raw energy of the search in this project I think is self-explanatory, which is the point I believe to show how flawed one can be but express very specific themes honestly. Finally, with 7 my goal is to merge the two into balance, as one focused state of mind, as ‘7’ is the thinker beyond understanding or beyond the illusion.” Listen deeply, open your doors of perception, dance the atomic mess around, stay small, be true, and don’t forget, Fp-Oner’s music is a traveling zone with a universal meaning. It can mean many things to different people. “Light Years” features Minako.