Delve into the quirky and psych-tinged world of Brazilian pianist, composer and multi-instrumentalist Mauricio Fleury. With more than a hint to Brazilian jazz greats like Azymuth, Deodato and CTI Records in their prime, Revoada is a groove based jazz-framed record, primed with other transitory musical vignettes which touches on Turkish psych and soul-jazz born out of the 70's film soundtrack genre. Revoada is a 6 track album and storyboard of Mauricio's migration and travels through Brazil's geographical oddities , its rural and urban enclaves. Recorded in Brazil, it's the result of numerous treks through funky flea markets, soaking up old vinyls and vintage cultural artefacts combined with a new life led in Berlin since 2022. Mauricio, as well as a founding member of Bixiga 70 (google Brazilian Afrobeat pioneers), a band he fronted for over 12 years, is also an in-demand collaborator and musician who as a pianist, guitarist and even percussionist has shared stages and studios with the likes of Brazilian greats including Gal Costa, Emicida, Lucas Santtana, João Donato and Liniker. In 2007 he had a life-changing experience meeting Tony Allen, at the Red Bull Music Academy. After hanging out, chatting music and life, Tony insisted to Mauricio to participate with Tony in a jam with blacktronica and soulful house music pioneers Ron Trent, Theo Parrish and Steve Spacek. Mauricio sums it up, "From that moment on, I was never afraid to collaborate musically with anyone, no matter who's playing. It also brought me to researching the connection between Brazilian music and Afrobeat which is something that still means the world to me". Another unforgettable session Mauricio undertook happened alongside João Donato and Marcos Valle, playing Donato's classic album Quem É Quem, live, a record seen as a blueprint for second generation bossa nova. Mauricio has worked with Gal Costa on two albums, Estratosférica Ao Vivo and her last studio album A Pele do Futuro. Fabio Sá and Vitor Cabral (bassist and drummer on Revoada) were playing with Gal at her last concerts, including in Berlin in 2022 before she passed. In contemporary music, Mauricio was part of Toy Selectah and Mexican Institute of Sound's Compass project. He's worked with Colombia's Los Pirañas and has even recorded a mysterious and unreleased album with Quantic. Revoada shows signature traces of Thelonious Monk, Ramsey Lewis' swinging soul sound, Deodato's drama, and styles from further afield, spreading into Turkish psych and Ethiopian jazz, when the time is right. Each track, led always by Mauricio playing multiple instruments with a choice selection of guests and core members on bass and drums, highlights Fleury's meticulous approach to finding the right timbre, utilising his arsenal of organs and effects pedals to set the mood, taking the listener to a specific place or memory that has shaped him. A vinyl DJ for over 25 years and someone who is immersed in digger and collector's culture, Mauricio places a lot of emphasis on the importance of the complimentary relationship between two artforms (DJ and composer/producer) in the sense of having a broad repertoire of musical knowledge, references and perhaps predictably, being a Brazilian, understanding the connection between rhythms. This is an impressive debut album that struts itself right into the runout groove.

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From the introspective "Mojo uno", Gelbard's solo piece on Moog, to the wild "Alevacolariea", featuring the prolific Uruguayan Rubén Rada, Gelbard's solo album offers no chance to remain indifferent. Fernando Gelbard occupies a singular place in Argentine jazz history, remembered for his bold embrace of new sounds and his refusal to let boundaries define him. A pianist, flautist, and producer, he was among the first in Argentina to explore the possibilities of electronic instruments in jazz, creating a body of work that feels both rooted in tradition and ahead of its time. Didi, recorded in 1974, epitomises this vision. Entirely performed on electronic keyboards such as the Moog synthesizer and Fender Rhodes, it fused bebop harmonies with bossa nova -Gelbard has a deep love for Brazilian music-, Latin grooves, and Afro-American rhythmic textures. The result was a kaleidoscopic soundscape that challenged conventions and opened doors for new directions in South American jazz. Tracks like "Alevacolariea", featuring the Uruguayan Rubén Rada, with its rich percussion and chanting, reveal his interest in rhythm as a unifying force, while pieces such as "Chau, Ambrosio" show his skill at blending layered studio experimentation with a straight-ahead jazz sensibility.

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Killer unreleased 1973 post-bop, avant jazz album from Argentina, with highly political texts. The missing link in Argentina's jazz history finally sees the light. Coraje Buenos Aires was recorded in 1973, conceived as a follow-up to the historic Bronca Buenos Aires (1971). More explicitly than its predecessor, the texts in Coraje denounced the atrocities of the military junta that ruled the country, and the album was inevitably censored before being released. The tapes, thought to have been burnt and forever lost, were recently discovered in the archive of the late Jorge López Ruiz, allowing us to finally listen to Coraje fifty years after being recorded. Mastered from the original tapes by Pablo López Ruiz. Includes foldout sheet with bilingual notes by author José Tcherkaski and an English translation of the album's song texts.

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This top-notch spiritual jazz album from Argentina will leave fans of Pharoah Sanders and John Coltrane astonished. Recorded in 1975 and still surprisingly off the radar, this is one of the deepest jazz albums from South America. Inspiración is the meeting of two generations united by music: Ara Tokatlian and Guillermo Bordarampé, members of the influential 70s rock band Arco Iris (which Tokatlian cofounded with the now Oscar award-winning composer Gustavo Santaolalla), join forces with Enrique "Mono" Villegas, an admired jazz pianist who had been active since the 1930s. Meditative, soothing and serene, Inspiración is music your soul yearns for. Official reissue with sound off the master tapes, including a reproduction of the original 16-page booklet. With the blessing and support from Ara Tokatlian and Guillermo Bordarampe.

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Jazz, funk, and bossa vibes kiss each other, all wrapped up in JLR's trademark cinematic feel. In his colourful Un Hombre de Buenos Aires, recorded in 1978, JLR puts the political outcry of his early 70s works aside and focuses on his love for the city of Buenos Aires. Jorge López Ruiz gets far less credit than he deserves. His crucial role in shaping Argentina's jazz history should place him right next to Gato Barbieri and Lalo Schifrin, who found success abroad. It's an honour do dig deeper into his vast discography after having already reissued his masterpiece Viejas Raíces and his historical milestone album Bronca Buenos Aires. As always, Jorge López Ruiz enroled for the recording of Un Hombre de Buenos Aires some of the best musicians in the country. The line-up includes Dino Saluzzi on bandoneon, Domingo Cura on percussion and his lifelong friend Pocho Lapouble on drums.

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Fans of Coltrane will certainly dig this historical 1970s spiritual jazz album from Argentina which left an everlasting imprint in the local jazz scene. From the eerie "Blues para un cosmonauta" —which could easily fit in the Twin Peaks soundtrack—, to the majestic "Líneas Torcidas" or the mid-tempo groove of "Mi amigo Tarzán", new landscapes in jazz are explored without hiding, at moments, the musicians' bebop pedigree. Venturing into unchartered dimensions, the album breaks with traditionalism and combines jazz and new electronic instruments into a contemporary concept that is both cosmic and sensual, a sound where timbre and space play a crucial role. Here, no track sounds like the other. The charismatic, multifaceted saxophone player Horacio "Chivo" Borraro is joined here most notably by Fernando Gelbard —who pioneered electronic keyboards and analog synths in Argentina, playing here Fender Rhodes and Minimoog— and Brazilian musician Stenio Mendes —who plays the 12-string craviola and contributes two tracks. Jorge González on bass and Néstor Astarita on drums —both part of Gato Barbieri's rhythm section in the early 60s— and Chino Rossi —responsible for much of the unusual percussion and special effects that give the album its unprejudiced aura— complete the line-up of Blues para un Cosmonauta.

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Spiritual, intimate and revolutionary, yet firmly rooted in Brazil's folklore. Africadeus was the breakthrough album of the mighty Naná Vasconcelos, in which he discovered the berimbau to the world and took the instrument to a universal level, abstracting it from its original context of capoeira. Having played in the shadows for other artists such as Milton Nascimento, Gato Barbieri or Som Imaginario, Naná is here finally in the spotlight. Recorded in 1973 in France for Pierre Barouh's Saravah label, this is the album that definitely imprinted Naná's name in the international scene, on his track to becoming one of the best percussionists of all times. Immensely proud to offer a quality reissue of both his early 70s albums for the French label Saravah. Africadeus comes in its original gatefold cover

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Cult album of Brazilian music finally reissued || Official reissue of this real tour de force of Brazilian creativity, where the mighty Naná Vasconcelos is joined by his friends Nelson Angelo and Novelli (both members of the legendary Clube da Esquina) to create one of the greatest Brazilian albums ever recorded outside of Brazil. The three musicians grasp here for the kind of musical freedom that could then only be achieved outside of their country. A boundary-pushing experimentation that makes your soul flow and is to be enjoyed at large. Recorded in 1975 and released in Pierre Barouh's label Saravah. Artwork by the great Belgian artist Jean-Michel Folon.

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"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair"). Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk. In the recording of "Pelo de Rata" Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces. The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).


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Essential jazz from Argentina, originally released in 1971. Bronca Buenos Aires is one of the highlights in the career of Jorge López Ruiz, alongside El Grito and the much-acclaimed Viejas Raíces project. The album is jazz poem by López Ruiz to the city he loved, not just for its virtues but also its faults, and the recording was an ambitious project that gathered many of the prominent jazz musicians of Buenos Aires.


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After a few years in London, where he worked with Archie Shepp and recorded a sought-after album for the famed library music label De Wolfe, Argentinian pianist Luis Vecchio settled in the island of Gran Canaria following advice from a superior entity from outer space. Vecchio subsequently opened the first jazz school in the Canary Islands, effectively planting the seed of jazz in the archipelago. In Contactos, recorded in 1978 in the Mayra studio owned by Ramiro González, Vecchio gives a free jazz account of his contacts with Adionesis, who delivers his ominous message upon the human race on side B of the album. Fellow Argentinean Fernando Bermúdez on percussion and Japanese bass player Yoichi Yahiro complete the line-up of Contactos.

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Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque and Lincoln Olivetti amongst many others. We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H. Recorded in 1981 in Uruguay where Maria had settled with her then husband and synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. The album combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, in part provided by the all-star line-up of Uruguayan musicians recruited for the recording. First reissue on vinyl format, preserving the original artwork in its gatefold sleeve, with sound sourcedfrom the original analogue tapes, and with a 12-page booklet with photos from Maria's private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo de Souteiro.

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You know you're into something good when you open the album you just bought and find a lyrics sheet, then play it and quickly realise the record is actually instrumental. The unruliness that defined Costa Blanca's short-lived career resulted in such nonsensical contradictions, and helps understand why one of Spains best jazz-rock bands of the 70s never had a proper breakthrough. Hailing from sun-bathed Alicante in the Spanish levantine coast, Costa Blanca shared the stage with some of the country's best-known rock acts of the time, including Triana, Guadalquivir, Bloque or Coz, often receiving praise from fellow musicians and music critics alike. The band's sole LP takes the listener through a typical summer in the Mediterranean, from its blissful afternoons by the sea to galloping thunderstorms, and is reminiscent of some kind of Weather Report with a Mediterranean flair. Formed by four musicians of diverse musical backgrounds, the band members proved to be exceptionally skilled despite their limited experience, remarkably drummer Pedro Barceló who, aged just 17 at the time of recording, delivered a trepidant 9-minute solo and grew to become one of the most in-demand session musicians in Spain. Napi Carratalá's guitar makes sure his inclination for psychedelic rock doesn't go amiss and the undisturbable Chiki Navarret provides the funky bass lines that hold the band together, while the French saxophonist Alain Fabrizio blows the jazz influence. Partly because of the band's location away from the music industry centers of Barcelona and Madrid, and mainly because of the carelessness that surrounded the band's activities, the album failed to attract any commercial success and fell into oblivion, becoming today a highly collectable cult album and the only available memory anchor for those who saw them live. Done in full cooperation with all surviving band members, we're proud to bring you this reissue, with an 8-page booklet including bilingual (Spanish / English) liner notes and graphic memorabilia from the musicians' own archives. "We were always stoned" seems to be the common memory of all Costa Blanca members. And that's probably the right way to listen to this album today -- by the sea, please.

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Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice. Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa". As bonus tracks to this reissue, we include both sides from Zéca's rare 1977 single, featuring the allmighty trio Azymuth. Comes with an 8-page booklet with bilingual (Portuguese / English) liner notes by Brazilian journalist Marcelo Pinheiro and previously unpublished pictures from the artist's archive.

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It's safe to say that starting a jazz album with a version of Led Zeppelin's "Black Dog" was quite a daring deed, to say the least. In Argentina — back in 1977. And yet this is something a musician with the career of Jorge Navarro could afford. Navarro belongs to a generation of musicians who shaped the history of jazz music in Argentina, starting already in the mid-50s alongside other renowned jazzmen such as Lalo Schifrin, Leandro "Gato" Barbieri, "Baby" López Furst or Jorge López Ruiz. In Argentina, "con polenta" is an expression used to describe something with great energy or strength — which perfectly defines the mood for the album. As many other musicians, most notably Schifrin and Barbieri (who enjoyed a huge international success and would only sporadically return to Argentina), Navarro had just left the country and spent several years in the USA, returning to his homeland full of energy and new ideas, which translated into his debut solo album where navarro performs on Hammond, Fender Rhodes and Steinway pianos. A rocking blend of Jazz and Funk, the album unexpectedly kicks off with a groovy cover of Led Zeppelin's "Black Dog" and includes equally wicked takes on compositions by Eumir Deodato, Keith Jarrett and Joe Farrell, as well as two self-penned originals and a funky number by Roberto Valencia, who's in charge of percussion in the album.

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2026 repress, incl. full-tone printed outer & inner sleeve, incl. download

Deaf Center member Otto A Totland’s 2014 debut LP, an intricate work for solo piano.

Otto A Totland's modern compositional elements are most widely recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the 5-minute A-side of Sonic Pieces 7inch Harmony From the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style.

Initial track Open fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios.

With Pinô, Otto A Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland’s compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O’Halloran.

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A delirious cult concept album disguised as pop, first released in 1971, where psychedelic grooves, funk and global rhythms meet phonetic pseudo-Japanese chants, judo-master ritual cries and a children's choir. Sampled by Erykah Badu, Madlib and DopeLemon, and the unlikely spark behind Bananarama's debut. This can only be the fabulous world of Yamasuki.
In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.
The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were already well ahead of their time, long before electronic music rewrote the rules of pop culture.
This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyful without explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!

Tracklist

A1. Yamasuki - Yamasuki
A2. Yamasuki - Aisere I Love You
A3. Yamasuki - Kono Samourai
A4. Yamasuki - Yamamoto Kakapote
A5. Yamasuki - Okawa
A6. Yamasuki - Aieaoa
B1. Yamasuki - Abana Bakana
B2. Yamasuki - Seyu Sayonara
B3. Yamasuki - Yama Yama
B4. Yamasuki - Fudji Yama
B5. Yamasuki - Yokomo
B6. Yamasuki - Kashi Kofima



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Cool – calm – collected: chapter 15 of this superlative series, compiled by Compost’s head honcho Michael Reinboth. 21 tracks, 8 exclusive, previously unreleased tracks. The exciting package comes as 2-CD / 4-LP vinyl. Enjoy!

The exclusives by Area (guess you all know his brilliant Innervisions release), Arnau Obiols & KAYYAK (recently featured by Gilles Peterson in his “watch out for 2021” top five list), Ron Deacon (officially belongs to the Workshop-Crew together with other artists like Move D, Even Tuell and Kassem Mosse), Class Compliance (which are Manuel Tur with his Clavis partner Adrian Hoffmann, also known as Paskal & Urban Absolutes or Amberoom), Mille & Hirsch (operators of the fine Polish Records), All Is Well (Fred Everything), Ben Sturm (watch out talent of Leipzig’s viral underground scene) and Oliver Kieser (best known as Kieser & Velten with their releases on G-Stone). This wonderful Esa Williams remix of Bantu Clan Vs Sarabi is also previously unreleased.

Several magazines voted the Future Sounds Of Jazz as one of the best compilation series of all time. With this series, starting in 1995, the term Future Jazz became a genre landmark.

Tracklisting | 4-LP

Side A
A1. Class Compliance – Cuadro (06:31) *previously unreleased
A2. Cotonete – Super Vilain Wants Love (Dj Deep & Romain Poncet Remix) (06:01)
A3. James Holden & The Animal Spirits – The Neverending (04:29)

Side B
B1. Bantu Clan Vs. Sarabi – Africa Ni Leo (Esa & Nonku Phiri Kaap Mix) (05:46)
B2. Shina Williams & His African Percussionists – Agboju Logun (11:42)

Side C
C1. Lucas Croon – Türkischer Tee (07:31)
C2. Mille & Hirsch – Pentagon Flow (09:32) *previously unreleased

Side D
D1. Typesun – Last Home (Dj Nature Remix) (08:20)
D2. Brandi Ifgray – Bones (Maurice Fulton Vibe Mix) (07:19)
D3. Ben Sturm – Francebeat (04:33) *previously unreleased

Side E
E1. Toshio Matsuura Group – At Les (07:13)
E2. Marni – Floor Of Soul (04:57)
E3. Oliver Kieser – Oscura Serenata (04:44) *previously unreleased

Side F
F1. Aera – Line Of Conception (05:34) *previously unreleased
F2. Martin Buttrich – Meeting Dave Dish (06:54)
F3. All Is Well – Day Two (06:31) *previously unreleased

Side G
G1. Arnau Obiols & KAYYAK – Tunacheza (05:25) *previously unreleased
G2. Kevin Yost – Another World (Original Mix) (07:59)
G3. Ron Deacon Feat. Johanna Jaeremo – Untitled B2
Brando Jazz (06:24) *previously unreleased

Side H
H1. Don Carlos – Mediterraneo (05:26)
H2. Rudoulpho – Sunday Afternoon (10:23)

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Mildlife's 2018 critically renowened album 'Phase' back in supply. Nominated for best album at Worldwide FM Awards Dj from DJ Harvey, Artwork, Gilles Peterson, Bradley Zero & many more. Only limited copies avail.

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Recorded at the Philharmonie de Paris and one and a half years after releasing his magnum opus "Music For Animals"—described by PopMatters as “a musical waterfall of monumental proportions”—Nils Frahm shares a new live album, due for release by his LEITER label on December 6. In what’s becoming a tradition, it follows 2013’s "Spaces", a Pitchfork Album of the Year taped at shows over the preceding 18 months, and 2020’s "Tripping With Nils Frahm", also released as a film. "Paris", nonetheless, is Frahm’s first live album from a single night, March 21, 2024, and contains ten tracks over a running time of 84 minutes.

Frahm’s performances have always been known for expanding upon his studio recordings, and "Paris" is no exception. Drawing on his substantial catalogue, the German composer and producer reworks tracks from various albums, and also adds the brand new, luxurious and strangely gripping ‘Opera’ to the track list.

If he leaves the stage to the same uproarious jubilation with which he was initially greeted, "Paris" makes it clear why he’s been so in demand. He’s been booked, frequently for multiple nights, at halls around the world, including Sydney’s Opera House, London’s Barbican and LA’s Orpheum Theatre. Indeed, the LA Times wrote, “Watching him at work, and hearing the audience react, is a little like watching an athlete at the top of his game.” Expect nothing less from Nils Frahm on "Paris", a vital document of this ingenious, gifted musician’s endless pursuit of fresh perspectives.

All tracks written, produced and mixed by Nils Frahm.
Mastered by Zino Mikorey, recorded by Terence Goodchild.
Vinyl cut by Andreas Kauffelt at Schnittstelle.

All tracks published by Manners McDade Music Publishing Ltd.
Cover artwork and design by Studio Torsten Posselt.

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Tracklist:
1.1ZERO
1.2NOTHING TO LOSE
1.3CHASING LIGHT
1.4INER CIRCLES
1.5KRAUT
1.6HONEST

Mit Chasing Light legt das Moses Yoofee Trio nach ihrem international gefeierten und für den Deutschen Jazzpreis nominierten Debüt MYT (2025) eine neue, energiegeladene EP vor. Entstanden in ihrem Neuköllner Proberaum, destillieren die sechs Tracks die unmittelbare Live-Dynamik des Trios - roh, spielerisch und voller kreativer Risikobereitschaft. Pianist Moses Yoofee, Bassist Roman Klobe und Drummer Noah Fürbringer spielten eine Woche lang fast ununterbrochen, jammten Ideen, experimentierten mit Sounds und nahmen ein völlig organisches, DIY-geprägtes Werk auf, das ihre musikalische Weiterentwicklung eindrucksvoll dokumentiert. Nach einer intensiven Welttour durch Asien, die USA und Europa 2025 bündelt Chasing Light die gesammelte Energie der Band in einem Sound, der Jazz- und Hip-Hop-Improvisation mit Afrobeat-Grooves, komplexen Breakbeats und atmosphärischen Synth-Schichten verbindet. Ob das packende "Nothing to Lose", das rhythmisch dichte "Inner Circles" oder die satte, streicherreiche Harmonik des Titeltracks - die EP zeigt ein Trio, das mutiger, offener und experimentierfreudiger denn je klingt.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the
simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created
around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears
in the seam of human and nature and that can be revealed through art.
Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the
earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects
such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a
snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s
pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees
and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive,
being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate
material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life
itself.
Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating
a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications
by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom.
The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz
ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human
life.

A1. En Plein Air
A2. Impasto
A3. Prussian Blue
A4. Natura Morta
A5. Panorama
B1. Alla Prima
B2. Umber
B3. Barocco, Ma Non Troppo
B4. Memento Mori
B5. Pentimento
B6. Natura Morta (reprise)

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Re-issue of essential Larry Heard album from the early 2000's... Love's Arrival! Now in DJ friendly triple vinyl package adding some of the favorites from CD release like 'Deja Vu' and 'Missing you (Jazz Cafe Mix)' to the vinyl package. And bonus... 'Luminous Energy' from the same sessions.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Found Songs gehört zu den ungewöhnlichsten und zugleich berührendsten Projekten in Olafur Arnalds" Werk. Innerhalb einer einzigen Woche komponierte, nahm und veröffentlichte der isländische Komponist jeden Tag einen neuen Song - unmittelbar und ohne Umwege. Das Ergebnis ist ein faszinierendes musikalisches Tagebuch: fragile Piano-Motive, zarte Streicher und dezente elektronische Texturen verbinden sich zu einer intimen Klangwelt zwischen Neoklassik und moderner Pop-Ästhetik. Die Einbindung der Fans - die das Artwork gestalteten - macht dieses Projekt zudem zu einem frühen Beispiel digitaler Kollaboration. Found Songs zeigt Arnalds auf dem Weg zu seiner unverwechselbaren Handschrift: reduziert, emotional und von stiller Intensität.

Tracklist:
1.1Erla's Waltz
1.2Raein
1.3Romance
1.4Allt vard hljott
1.5Lost Song
1.6Faun
1.7Ljosid

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More