The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

Tracklist:

1. DREAMIN'
2. WEDDING TRILOGY
3. IT DON'T MATTER NO MORE
4. DOWNTOWN
5. GRAY DAYS
6. KIDS
7. DON'T BE SO NICE
8. CELEBRATION LOVER
9. IT'S ALRIGHT
10. BRIGHT FACE
11. THE DUKE IS GONE
12. DROP A DIME
13. DREAMIN' (REPRISE)

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Although perhaps not a household name like Sergio Mendes, Marcos Valle or Flora Purim, Bororó is considered to be one of the most important and talented Brazilian musicians of his time. Taking his moniker from the indigenous people of his country, who live in the state of Mato Grosso, Bororó steadily built his career for well over a quarter of a century, along the way performing live and in the studio with such legends as Gal Costa, Milton Nascimento and Caetano Veloso.

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Notes on a Journey reissue this 7" by Cláudio Bocca originally released in 1985. Limited to 300 copies

Antônio Cláudio Silva Cardoso – Cláudio Bocca grew up in a family of three siblings in North Rio. His father was a commercial businessman and his mother was a housewife and amateur pianist and singer.

Claudio Bocca’s first contact with the instrument that would determine his future came via thedaughter of one of the employees of his father’s company who was also a serenader. His first professional gig was at the Ponteio Bar, where he was backed by his now-bandmates Augusto and Márcio. It was at around this time, at one of the budding power trio’s gigs, that Cláudio’s parents decided to invite a few friends and see their youngest son’s band perform for the first time. To the amazement of the couple and the surprise of their friends, they realized for the first time that their son could really sing and had the confirmation that this was what he wanted to do in life. At Mr. Cardoso’s company there was another employee by the name of Gil Figueira, a singer-songwriter who had just recorded his one and only single with the backing of Gaúcho do Luar, founder of the Farroupilha label.

At the first meeting between producer Gaúcho do Luar, Cláudio and Gil Figueira, a handshake agreement was reached wherein Cláudio’s dad would pay the stipulated amount for the production and pressing of the single that we just reissued. Cláudio would then take the finished tape to the Polygram pressing plant and then later receive the 1000 copies made. The studio became known in the 80s for recording independent projects, and its engineers were acclaimed veterans Toninho Barbosa (the Brazilian Rudy Van Gelder) and Everson Dias.

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An edit pays tribute to the original by trimmin and rearranging the song in a way that it works for today's dancefloor or listening habits.

Delfonic and Mendel are two outspoken specialists in this and understand the edit craft like no one else. For almost twenty years, Delfonic has been running Oye Records, a record store known far beyond the city limits of Berlin, and therefore knows very well which records and tracks go down best with whom and how. Always on the look out for that heartfelt connection, Mendel doesn’t cater to the fist pumpers, but rather the loving, open-minded and upbeat. His sets are peppered with diverse influences, from Chicago’s (ware)house pioneers to Amsterdam’s soulful school of DJs. He carefully orchestrates dance floor experiences by selecting tunes based on the emotion they evoke. A steady flow of mixtapes and Mendel’s Melodies, his regular show on Red Light Radio, provide a platform for Mendel to share his mellower side, capturing hearts by interweaving soulful classics with silky rarities from all corners of the musical landscape.
Notes On A Journey has therefore decided to make use of the services of the two DJs and to take two songs from their own, meanwhile extensive catalog under the magnifying glass, respectively the scalpel.
On the one hand there are two new editions of Germannu's «Fale De Mim» and one edit each for «Marcação» and «Pé na Estrada» by Valéria. Four times the very finest in soulful Brazilian
pop music as one is now almost used to from Notes On A Journey.
«Fale De Mim» by Germannu, by the way, originally appeared in 1984 on the EP «Germannu»
and was released in September 2020 by NOAJ as a lavish reissue.
The 4-track 7inch «Pé na Estrada» by Valéria originally came out in 1983 on the Brazilian label
PPA (Paladar Produções Artisticas) and was re-released by NOAJ in November 2020.
With «NOAJ Edits 01», a first absolute must-have edits package was put together. And as the
title suggests, the series will continue in the following months with more highlights from the
NOAJ catalog.


TRACKLISTING:
A1 – Germannu - Fale De Mim (Delfonic Edit)
A2 – Germannu - Fale De Mim (Mendel Edit)
B1 – Valéria – Marcação (Delfonic Edit)
B2 – Valéria – Pé na Estrada (Mendel Edit)

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Even those of you who are already familiar with our label's concept of rediscovering music which has unjustifiably been lost, overlooked or forgotten will be surprised by the reissue of the six-track-record 'Bruchstuecke' LP by Free-Jazz artists Phrydderichs Phaelda. This band was a short living school band project of the Gymnasium Voerde Mitte (West-Germany) led by pianist and music teacher Friedrich Schepers joined by other teachers and students (Hans Klimek on bass, Lutz Leonhardt on drums, Wolfgang Kulawik on guitar). In 1975 they went to the studio to record 6 instrumental tracks in a style that could be best described as jazz / fusion with hints of r'n'b and rock, which are brimming with crisp snare drums played in polyrhythmic and ever-changing patterns and tempos. Alongside that the astounded listener gets to enjoy thrilling electric guitar lines and breathtaking electric piano excursions together with ultrawarm and elaborate bass guitar parts. All this is held together by the four musicians great overview and ability to improvise and react spontaneously to their fellows. This creates a kind of magic which is rare to hear in music these days. Stefan Leisering and Juergen von Knoblauch, the two record digging members of Jazzanova have immediately understood the unique quality of 'Bruchstuecke' and decided to re-release this overlooked masterpiece. In the course of the original release of this album in the early 1980s only a small amount has been pressed. Now with this reissue on Notes On A Journey is the chance to make this gem available to a larger audience - to people who share a great interest in the remarkable development of underground Jazz in Germany during those exciting years.

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With the fifth release and the first 7inch on the quality imprint, Notes On A Journey turns its attention to Brazil. Finally, one might think, since it's an open secret that the guys behind the label all have a soft spot for music from the leading coffee exporter in the world. So, when Brazilian DJ, record collector and digger extraordinaire Junior Santos brought this Celso Rubinstein 7-inch EP (called "Compacto" in Brazil) to the Berlin label's attention he hadn't to do a lot of persuading to have NOAJ reintroduce this beautiful piece of music to fans around the world some 36 years after its first appearance. Born in Brazil to a family of Holocaust survivors, Celso Rubinstein's career as a singer allowed him to take residency in several countries including Spain, Portugal, Israel and Britain. He performed as an artist in numerous clubs and supported other artists as backing vocalist. In 1982 he booked studio time at Chico Batera's studio in Rio De Janeiro to record two songs for an intentional debut album. On "Enquanto Houver", written by Paulinho Mendonça and Gerson Conrad, Rubinstein tried to infuse some rap flavor. Marina Lima and Antonio Cicero contributed "È A Vida Que Diz", a song as marvelously written as much as performed sophisticatedly by Rubinstein with his star-studded studio crew. Amongst them: Oberdan Magalhães and Claudio Stevenson from Banda Black Rio, Rique Pantoja, keyboard player, arranger and conductor Reinaldo Arias, as well as American session musician Don Harris. Celso Rubinstein wanted to create a unique atmosphere for the recording sessions, inviting numerous people to the control room to amplify the spontaneous live feeling even more (the control room was filled with people like Ney Matogrosso, As Frenéticas, Claudia Telles, Fátima Guedes.) You definitely can hear this vitality on the record originally published in 1982 by Rubinstein himself. Since there was a massive vinyl shortage at the time in Brazil, no label had any spare material to waste on newcomers. Only the label Tapecar, which had its own pressing plant, helped Rubinstein out and used the left over material from the manufacture of Gal Costa's latest album ("Minha Voz") to have his 7" privately pressed. Needless to say that it missed any recognition back then. But now, 36 years later, thanks to Junior Santos and Notes On A Journey a broad audience has the joy to finally embrace this beautiful music wholeheartedly.

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