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Label:Mr Bongo
Cat-No:MRB7200
Release-Date:14.05.2021
Genre:Funk
Configuration:7"
Barcode:
1
Sven Wunder - Impasto
2
Sven Wunder - Prussian Blue
Tracklist:
A. Impasto
B. Prussian Blue
In collaboration with Piano Piano Records, Mr Bongo is thrilled to present a taster 7” single, ‘Impasto’ / 'Prussian Blue’. The single showcases the colourful palette of Sven Wunder's fabulous forthcoming third album 'Natura Morta’. The album is set to be released on Piano Piano Records later in 2021 with this 7” acting as the perfect prelude.
Sven's 2019 album 'Eastern Flowers' took us into the world of Anatolian rock, European jazz, library, funk, psychedelia, and traditional folk melodies. The 2020 follow up, 'Wabi Sabi’, mixed jazz and Eastern and Southern Asian sounds to present an aural aesthetic of the Japanese ancient wisdom. 'Natura Morta’, "still life" in Italian, owes its inspiration to art. Sven Wunder explores it as a bridge between nature and the human ability to judge and observe through eleven unique musical compositions, each one brightly coloured and textured with an emphasis on vibrant melodies.
As with previous Sven Wunder material the tracks here on this 7" are covered in lush orchestration, evoking the rich musical soundscapes of a previous era (think library music or the film scores of Morricone). First up is the beautiful ‘Impasto’ which refers to the technique used in painting where the paint is laid in very thick layers on a surface. With its lavish sweeping strings and melodies there are echoes of the arrangements of Arthur Verocai, but it then takes a turn into 60s detective movie territory. You can imagine it being the score to a scene in a Harry Palmer film which breaks for a romantic interlude in between the action and suspense.
'Prussian Blue’, is built on Sven’s ‘Shinrinyoku' from the 'Wabi Sabi’ album, sharing the same melody but here with an uptempo beat and another arrangement. It begins with a moment of calm with its soothing piano intro before it bursts into a percussive breakbeat workout. It skates and glides with the influences of Italian library music and Eastern melodies, yet at the same time it retains a unique element that can only be Sven Wunder. 'Prussian Blue' refers to the pigment that was imported to Japan.
Once again, we are indebted to Sven Wunder and John Henriksson at Piano Piano Records for letting us share this melodious vision from one of our favourite contemporary musicians. The compositions on this 7" were produced with financial support from the Swedish Arts Council. More
A. Impasto
B. Prussian Blue
In collaboration with Piano Piano Records, Mr Bongo is thrilled to present a taster 7” single, ‘Impasto’ / 'Prussian Blue’. The single showcases the colourful palette of Sven Wunder's fabulous forthcoming third album 'Natura Morta’. The album is set to be released on Piano Piano Records later in 2021 with this 7” acting as the perfect prelude.
Sven's 2019 album 'Eastern Flowers' took us into the world of Anatolian rock, European jazz, library, funk, psychedelia, and traditional folk melodies. The 2020 follow up, 'Wabi Sabi’, mixed jazz and Eastern and Southern Asian sounds to present an aural aesthetic of the Japanese ancient wisdom. 'Natura Morta’, "still life" in Italian, owes its inspiration to art. Sven Wunder explores it as a bridge between nature and the human ability to judge and observe through eleven unique musical compositions, each one brightly coloured and textured with an emphasis on vibrant melodies.
As with previous Sven Wunder material the tracks here on this 7" are covered in lush orchestration, evoking the rich musical soundscapes of a previous era (think library music or the film scores of Morricone). First up is the beautiful ‘Impasto’ which refers to the technique used in painting where the paint is laid in very thick layers on a surface. With its lavish sweeping strings and melodies there are echoes of the arrangements of Arthur Verocai, but it then takes a turn into 60s detective movie territory. You can imagine it being the score to a scene in a Harry Palmer film which breaks for a romantic interlude in between the action and suspense.
'Prussian Blue’, is built on Sven’s ‘Shinrinyoku' from the 'Wabi Sabi’ album, sharing the same melody but here with an uptempo beat and another arrangement. It begins with a moment of calm with its soothing piano intro before it bursts into a percussive breakbeat workout. It skates and glides with the influences of Italian library music and Eastern melodies, yet at the same time it retains a unique element that can only be Sven Wunder. 'Prussian Blue' refers to the pigment that was imported to Japan.
Once again, we are indebted to Sven Wunder and John Henriksson at Piano Piano Records for letting us share this melodious vision from one of our favourite contemporary musicians. The compositions on this 7" were produced with financial support from the Swedish Arts Council. More
More records from Sven Wunder
Label:Piano Piano
Cat-No:PP1001
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470242124
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Label:Piano Piano
Cat-No:PP1001
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470242124
1
Sven Wunder - Black Iris
2
Sven Wunder - Tulip
3
Sven Wunder - Magnolia
4
Sven Wunder - Lotus
5
Sven Wunder - Lily
6
Sven Wunder - Red Rose
7
Sven Wunder - Hibiscus
8
Sven Wunder - Magnolia (reprise)
9
Sven Wunder - Morning Glory
10
Sven Wunder - Chamomile
11
Sven Wunder - Hyacinth
12
Sven Wunder - Daisy
13
Sven Wunder - Gilboa Iris
This is the first stop on Sven Wunder’s musical journey. Wunder takes the listener somewhere around the easternmost part
of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora
through sound.
The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments
merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus,
hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a
both modern and classic idiom.
The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy
organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space
and points towards the future. It could appeal both psych and prog listeners, folk or jazz aficionados and as well the gourmet
hip hop connoisseurs.
A1. Black Iris
A2. Tulip
A3. Magnolia
A4. Lotus
A5. Lily
A6. Red Rose
B1. Hibiscus
B2. Magnolia (reprise)
B3. Morning Glory
B4. Chamomile
B5. Hyacinth
B6. Daisy
B7. Gilboa Iris More
of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora
through sound.
The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments
merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus,
hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a
both modern and classic idiom.
The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy
organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space
and points towards the future. It could appeal both psych and prog listeners, folk or jazz aficionados and as well the gourmet
hip hop connoisseurs.
A1. Black Iris
A2. Tulip
A3. Magnolia
A4. Lotus
A5. Lily
A6. Red Rose
B1. Hibiscus
B2. Magnolia (reprise)
B3. Morning Glory
B4. Chamomile
B5. Hyacinth
B6. Daisy
B7. Gilboa Iris More
Label:Piano Piano
Cat-No:PP1003
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470255308
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Label:Piano Piano
Cat-No:PP1003
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470255308
1
Sven Wunder - En Plein Air
2
Sven Wunder - Impasto
3
Sven Wunder - Prussian Blue
4
Sven Wunder - Natura Morta
5
Sven Wunder - Panorama
6
Sven Wunder - Alla Prima
7
Sven Wunder - Umber
8
Sven Wunder - Barocco, Ma Non Troppo
9
Sven Wunder - Memento Mori
10
Sven Wunder - Pentimento
11
Sven Wunder - Natura Morta (reprise)
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) More
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) More
Label:Piano Piano
Cat-No:PP1004
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470267240
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Label:Piano Piano
Cat-No:PP1004
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470267240
1
Sven Wunder - Sundown
2
Sven Wunder - Pop-Jazz Structures
3
Sven Wunder - Take A Break
4
Sven Wunder - Stars Align
5
Sven Wunder - Lunar Distance
6
Sven Wunder - Jazz At Night
7
Sven Wunder - Snowdrops
8
Sven Wunder - Stellar Plates
9
Sven Wunder - Asterism Waltz
10
Sven Wunder - Late Again
When the sun hovers near the horizon, the rays of white sunlight are scattered out of the beam by small particles and molecules in the atmosphere that sprinkle the sky with brilliant hues indicating that the day starts to fade. As night begins to fall, tree-tops redden and begin to glow. Darkness closes in and falls like a blanket covering the sky. It is late again and all is in shadow below. It is when stars align and dreams come true.
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
Label:Piano Piano
Cat-No:PP1002
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470247051
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Label:Piano Piano
Cat-No:PP1002
Release-Date:24.11.2023
Genre:Jazz
Configuration:LP
Barcode:7320470247051
1
Sven Wunder - Yugen
2
Sven Wunder - Shinrinyoku
3
Sven Wunder - Hot Winds Arrive
4
Sven Wunder - Hanami
5
Sven Wunder - Komorebi
6
Sven Wunder - Blanket Fog Descends
7
Sven Wunder - Wabi Sabi
8
Sven Wunder - Bamboo And Rocks
9
Sven Wunder - Kachofugetsu
10
Sven Wunder - Onsen
11
Sven Wunder - North Wind Rattles the Leaves
By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
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Label:Mr Bongo
Cat-No:MRBLP295
Release-Date:06.09.2024
Genre:Funk
Configuration:LP
Barcode:
1
Juan Almeida - Preludio
2
Juan Almeida - Este Camino Largo
3
Juan Almeida - Decide Tu
4
Juan Almeida - Interludio
5
Juan Almeida - El Arriero
6
Juan Almeida - Te Canta Mi Tambor
7
Juan Almeida - Ritmo Abierto
8
Juan Almeida - Postludio
9
Juan Almeida - Final
The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.
As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.
Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's Instrumental which we also reissued on Mr Bongo. The feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.
The vinyl release is presented with a Cuban Classic Series OBI Strip. More
As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.
Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's Instrumental which we also reissued on Mr Bongo. The feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.
The vinyl release is presented with a Cuban Classic Series OBI Strip. More
7"
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Label:Mr Bongo
Cat-No:BRZ45013R
Release-Date:30.08.2024
Genre:Soul/Funk
Configuration:7"
Barcode:
1
Joyce - Aldeia de Ogum
2
Rosinha da Valencia - Summertime
Repress!
Brazil 45, number 13 - remastered with refreshed artwork
A. Joyce - Aldeia de Ogum / AA. Rosinha da Valencia - Summertime
Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.
‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.
Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".
A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.
Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.
'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".
Remastered with refreshed artwork. More
Brazil 45, number 13 - remastered with refreshed artwork
A. Joyce - Aldeia de Ogum / AA. Rosinha da Valencia - Summertime
Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.
‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.
Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".
A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.
Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.
'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".
Remastered with refreshed artwork. More
7"
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Label:Mr Bongo
Cat-No:BRZ45015R
Release-Date:30.08.2024
Genre:Soul/Funk
Configuration:7"
Barcode:
1
Bossa Três - Imprevisto
2
Ana Rosely - Skim Dum Dum Dum
Repress!
Brazil 45, number 15 - remastered with refreshed artwork.
A. Bossa Tres - Imprevisto / AA. Ana Rosely - Skim Dum Dum Dum
In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.
Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.
We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price. More
Brazil 45, number 15 - remastered with refreshed artwork.
A. Bossa Tres - Imprevisto / AA. Ana Rosely - Skim Dum Dum Dum
In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.
Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.
We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price. More
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1
Wilson Simonal - Nem Vem Que Não Tem
2
Trio Mocotó - Não Adianta
Repress!
Brazil 45 number 20 - remastered with refreshed artwork.
A. Wilson Simonal - Nem Vem Que Não Tem / AA. Trio Mocotó - Não Adianta
Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.
First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.
On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.
First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour. More
Brazil 45 number 20 - remastered with refreshed artwork.
A. Wilson Simonal - Nem Vem Que Não Tem / AA. Trio Mocotó - Não Adianta
Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.
First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.
On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.
First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour. More
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1
Rita Lee & Tutti Frutti - Agora É Moda
2
Pete Dunaway - Supermarket
Repress!
Brazil 45, number 22 - remastered with refreshed artwork
A: Rita Lee & Tutti Frutti - Agora É Moda / AA: Pete Dunaway - Supermarket
Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.
'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.
Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.
On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.
Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals. More
Brazil 45, number 22 - remastered with refreshed artwork
A: Rita Lee & Tutti Frutti - Agora É Moda / AA: Pete Dunaway - Supermarket
Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.
'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.
Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.
On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.
Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals. More
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1
Sandra De Sá - Olhos Coloridos
2
Equipe Rádio Cidade - Bons Tempos: São Paulo (Good Times)
Repress!
Brazil 45, number 40 - remastered with refreshed artwork
A. Sandra de Sa - Olhos Coloridos / AA. Equipe Rádio Cidade - Bons Tempo: Sao Paulo (Good Times)
Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.
Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.
On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.
This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there. More
Brazil 45, number 40 - remastered with refreshed artwork
A. Sandra de Sa - Olhos Coloridos / AA. Equipe Rádio Cidade - Bons Tempo: Sao Paulo (Good Times)
Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.
Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.
On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.
This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there. More
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1
Jorge Ben - Xica Da Silva
2
Myriam Makeba - Xica Da Silva
Repress!
Brazil 45, number 44 - remastered with refreshed artwork.
A. Jorge Ben - Xica da Silva / AA. Myriam Makeba - Xica da Silva
Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.
’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.
On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through. More
Brazil 45, number 44 - remastered with refreshed artwork.
A. Jorge Ben - Xica da Silva / AA. Myriam Makeba - Xica da Silva
Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.
’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.
On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through. More
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Cat-No:MRBLP294
Release-Date:02.08.2024
Genre:Funk
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1
Los Reyes 73 - Grandes Amigos
2
Los Reyes 73 - Ya Ves Te Quedaras
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Los Reyes 73 - Necesito De Alguien Com Tu
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Los Reyes 73 - Si, Llego La Primavera
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Los Reyes 73 - Adeoey
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Los Reyes 73 - Piensa Que No Has Cambiado
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Los Reyes 73 - Finalizo Un Amor
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Los Reyes 73 - Un Lamento Hecho Cancion
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Los Reyes 73 - Si Llegara Alli
10
Los Reyes 73 - Baila Que Baila Mi Son
Continuing the Mr Bongo Cuban Classics Series, we shine a light on Los Reyes 73 and their sensational debut LP from 1975. The album had multiple different pressings under various titles and artworks, but the music stayed the same and speaks for itself. The group set the bar high with this fiery Afro-Cuban-funk gem, letting loose a vibrant Latin workout combining psych rock trippiness with a heavy dose of deep funk. Elements that fuse to firmly cement this album as a ‘70s Cuban masterpiece and one of our favourites here at Mr Bongo HQ.
Releasing just two albums and a handful of 7-inch singles, the band were a popular and influential group in Cuba at the time. Since then, they have featured on several compilation albums across the 2000s that have helped raise their portfolio to new audiences worldwide.
Produced by the magical Raúl Gómez, the album featured a list of heavyweight Cuban musicians. Directed by Santiago Reyes and Ovidio Guerra, with orchestration from greats including Ricardo Eddy Martinez who also released the much-loved album 'Expreso Ritmico' in 1978 alongside Ignacio Herrera, Mario Valdes and Gilberto García. The album also features the writing prowess of Los Van Van’s Miguel A´ngel Rasalps.
Blending traditional Cuban Son aesthetics with funk influences and psychedelic touches, the music housed within showcases a cosmic fusion that stands up on any modern dancefloor. The scintillating opener ‘Grandes Amigos’, the tripped out ‘Adeoey’ and the grooving ‘Un Lamento Hecho Cancion’ are just a handful of examples that exhibit the sheer musical melting pot of this album.
For this reissue, we have chosen to use the artwork from a Mexican version of the album released on Pentagrama Records that features the beautiful bird illustration cover art. The Cuban edition was released on the state-run Areito.
An outstanding and wondrous Latin record that has long been calling out for an official reissue.
The vinyl release is presented with a Cuban Classic Series OBI Strip. More
Releasing just two albums and a handful of 7-inch singles, the band were a popular and influential group in Cuba at the time. Since then, they have featured on several compilation albums across the 2000s that have helped raise their portfolio to new audiences worldwide.
Produced by the magical Raúl Gómez, the album featured a list of heavyweight Cuban musicians. Directed by Santiago Reyes and Ovidio Guerra, with orchestration from greats including Ricardo Eddy Martinez who also released the much-loved album 'Expreso Ritmico' in 1978 alongside Ignacio Herrera, Mario Valdes and Gilberto García. The album also features the writing prowess of Los Van Van’s Miguel A´ngel Rasalps.
Blending traditional Cuban Son aesthetics with funk influences and psychedelic touches, the music housed within showcases a cosmic fusion that stands up on any modern dancefloor. The scintillating opener ‘Grandes Amigos’, the tripped out ‘Adeoey’ and the grooving ‘Un Lamento Hecho Cancion’ are just a handful of examples that exhibit the sheer musical melting pot of this album.
For this reissue, we have chosen to use the artwork from a Mexican version of the album released on Pentagrama Records that features the beautiful bird illustration cover art. The Cuban edition was released on the state-run Areito.
An outstanding and wondrous Latin record that has long been calling out for an official reissue.
The vinyl release is presented with a Cuban Classic Series OBI Strip. More
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Cat-No:MRB7222
Release-Date:12.07.2024
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1
Bill Withers & Studio Rio - Lovely Day (Studio Rio Version)
2
Bill Withers & Studio Rio - Lovely Day (Studio Rio Instrumental Version)
Repress soon!
As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.
Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German, Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.
Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”
There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.
Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.
The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this. More
As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.
Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German, Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.
Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”
There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.
Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.
The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this. More
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1
Srirajah Sound System - Si Phan Don Lovers Rock feat. Molam Inteng Keawbuala
2
PERIKAS - Laberinto
3
Mac Thornhill - No Way To Control It
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King B. - Love is Crazy
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L'Innovateur Djoe Ahmed Et Le Zoukabyle - Amek Amek
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Champagn’ - Bel Ti Négress
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Androo - Lyriso
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Hidrogenesse - La Carta Era Muy Larga (Dub)
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Kajou - Tet Chajé
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Conjunto Baluartes - Nira Gongo
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Land Shark - Tie Me Up (The Nas-T Version Instrumental)
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Pellegrin El Kady - Seiva de Carnaval
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Lee Jackson Band - Call On Me
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LTA (Love The Action) - What Comes To Ya?
15
Urban Volcano Sounds - Ame no Uta (Rain Song) (Extended Version)
To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.
Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).
In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.
Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.
Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.
This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.
'John Gómez and Nick the Record Present TANGENT’ is available on limited edition 2 x Cream Vinyl LP, 2 x Black Vinyl LP and Double CD. More
Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).
In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.
Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.
Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.
This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.
'John Gómez and Nick the Record Present TANGENT’ is available on limited edition 2 x Cream Vinyl LP, 2 x Black Vinyl LP and Double CD. More
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Cat-No:MRBLP309
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1
Ana Frango Elétrico - Saudade
2
Ana Frango Elétrico - Promessa E Previsões
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Ana Frango Elétrico - Se No Cinema
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Ana Frango Elétrico - Tem Certeza?
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Ana Frango Elétrico - Chocolate
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Ana Frango Elétrico - Vinheta
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Ana Frango Elétrico - Torturadores
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Ana Frango Elétrico - Devia Ter Ficado Menos
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Ana Frango Elétrico - Caspa
"Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" – The Needle Drop
Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.
Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.
Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.
Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.
Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.
A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.
Single LP in gatefold sleeve with printed insert. More
Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.
Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.
Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.
Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.
Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.
A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.
Single LP in gatefold sleeve with printed insert. More
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1
Marcos Valle - Estrelar
2
Robson Jorge & Lincoln Olivetti - Alleluia
Repress!
Marcos Valle is back again, this time with the almighty ‘Estrelar’, his most well known disco/boogie track co-written with Leon Ware. Added hints of Yacht Rock too! The video, filmed in Rio in the early 1980’s, is particular special and is well worth 5 minutes of your time. Marketed as “workout music" at the time, ‘Estrelar’ was his best-selling record with a total of around 90,000 sales. ‘Estrelar’ is taken from his 1983 self titled LP released on Som Livre.
'Alleluia' –– two of the masters of the Brazilian Boogie sound joined forces to make a self-titled LP released in 1982 that epitamised the sound of early 80’s Rio de Janeiro. Synths and keys float over razor sharp samba, jazz and 2-step drum grooves backed by huge layers of horns. Production is as shiny, bright and ultra clean as it ever got! ‘Alleluia’ is a mid tempo groover, with rich horns, guitar, synth and vocal lines. An end of the night jam if ever there was one. Released on the LP mentioned above and also on 7” in 1983. More
Marcos Valle is back again, this time with the almighty ‘Estrelar’, his most well known disco/boogie track co-written with Leon Ware. Added hints of Yacht Rock too! The video, filmed in Rio in the early 1980’s, is particular special and is well worth 5 minutes of your time. Marketed as “workout music" at the time, ‘Estrelar’ was his best-selling record with a total of around 90,000 sales. ‘Estrelar’ is taken from his 1983 self titled LP released on Som Livre.
'Alleluia' –– two of the masters of the Brazilian Boogie sound joined forces to make a self-titled LP released in 1982 that epitamised the sound of early 80’s Rio de Janeiro. Synths and keys float over razor sharp samba, jazz and 2-step drum grooves backed by huge layers of horns. Production is as shiny, bright and ultra clean as it ever got! ‘Alleluia’ is a mid tempo groover, with rich horns, guitar, synth and vocal lines. An end of the night jam if ever there was one. Released on the LP mentioned above and also on 7” in 1983. More
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1
New Regency Orchestra - Pregon
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New Regency Orchestra - Sambaroco
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New Regency Orchestra - Mambo Herd
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New Regency Orchestra - Fiesta Time
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New Regency Orchestra - Para Los Papines
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New Regency Orchestra - Sahib & Tito
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New Regency Orchestra - Scarlet Mambo Hour
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New Regency Orchestra - Papa Boco
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New Regency Orchestra - Labasta Llego
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New Regency Orchestra - Mambo Rama (Lex Blondin Rework)
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New Regency Orchestra - Mago Walk
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New Regency Orchestra - Harlem Jamboree
Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.
NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and co-founder of Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.
Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.
Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.
The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.
“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”
This pure collective joy, shared experience and music you can’t help but move to. More
NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and co-founder of Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.
Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.
Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.
The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.
“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”
This pure collective joy, shared experience and music you can’t help but move to. More
LP
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1
Junior Parker - Love Ain't Nothin' But A Business Goin' On
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Junior Parker - The Outside Man
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Junior Parker - Darling Depend On Me
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Junior Parker - Taxman
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Junior Parker - Rivers Invitation
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Junior Parker - I Wonder Where Our Love Has Gone
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Junior Parker - Just To Hold My Hand
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Junior Parker - You Know I Love You
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Junior Parker - Lady Madonna
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Junior Parker - Tomorrow Never Knows
Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.
The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.
Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).
The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.
As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.
A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound. More
The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.
Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).
The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.
As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.
A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound. More
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Cat-No:MRBLP293
Release-Date:07.06.2024
Genre:Funk
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1
Juan Pablo Torres - Pan Caliente
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Juan Pablo Torres - Son De Caramelo Para Ti
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Juan Pablo Torres - Guajira 2001
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Juan Pablo Torres - Cacao
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Juan Pablo Torres - Tatagua
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Juan Pablo Torres - Rumba De Cajon Op 1
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Juan Pablo Torres - Mangle
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Juan Pablo Torres - Elvira
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Juan Pablo Torres - Mayajigua
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Juan Pablo Torres - Asi Son Con El Son
Next up in the Mr Bongo Cuban Classics series is an outing by the mighty Juan Pablo Torres from 1978. Released on Cuba’s state-owned Areito imprint, Algo Nuevo showcases trombonist, bandleader, arranger and producer Juan Pablo Torres' unique scope of sound. A melting pot of an album that weaves together jazz-funk and traditional Afro-Cuban genres with tripped-out synth touches and dancefloor grooves.
The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.
Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.
A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within.
Featuring replica artwork, the vinyl release is presented with an OBI Strip.
“One of my favourite albums” - Luke Una More
The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.
Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.
A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within.
Featuring replica artwork, the vinyl release is presented with an OBI Strip.
“One of my favourite albums” - Luke Una More
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Juan Pablo Torres Y Algo Nuevo - Y Que Bien
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Juan Pablo Torres Y Algo Nuevo - Rico Melao
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Juan Pablo Torres Y Algo Nuevo - Pastel En Descarga
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Juan Pablo Torres Y Algo Nuevo - A Luna Llena
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Juan Pablo Torres Y Algo Nuevo - Con Aji Guaguao
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Juan Pablo Torres Y Algo Nuevo - Son A Propulsion
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Juan Pablo Torres Y Algo Nuevo - Si No Fuera Por Emiliana
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Juan Pablo Torres Y Algo Nuevo - Ey!...Op1
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Juan Pablo Torres Y Algo Nuevo - Son Riendo
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Juan Pablo Torres Y Algo Nuevo - Super Son
The next release in the Mr Bongo Cuban Classics series, is one of Juan Pablo Torres' most-known and loved albums, the iconic Super Son from 1977. A wonderful record of tripped-out rumbas, psych-Afro-Latin funk and quirky orchestrated tracks with a big band horn section courtesy of Torres’ band, Algo Nuevo.
As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.
Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.
Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.
Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.
Featuring replica artwork, the vinyl release is presented with an OBI Strip. More
As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.
Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.
Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.
Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.
Featuring replica artwork, the vinyl release is presented with an OBI Strip. More
7"
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Cat-No:BRZ4509
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Genre:World Music
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1
Doris Monteiro - Se Vocé Quiser Mas Sem Bronquear
2
Quarteto Em Cy - Tudo Que Voce Podia Ser
Repress!
Famous 'Sambista' and actress Doris Monteiro born in Rio in 1934 and had a career spanning over 60 years. This Samba Rock classic was penned by Jorge Ben Jr. Another find at the legendary Tony's Hits in Sao Paulo, one of Mr Bongo's all time favourite digging spots. Taken from her self-titled 1970 LP on Odeon Brazil. Previosuly unreleased on 7".
'Quarteto Em Cy', were a prolific and very popular Samba/MPB group comprising four sisters hailing from Ibirataia in Bahia. 'Tudo Que Voce Podia Ser' is one of our all time favourite Brazilian songs, originally written by Milton Nascimento & Lo Borges that appears on their seminal Clube da Esquina LP.
This version is taken from Quarteto's 1972 LP on Odeon. It was also released on a 7" in 1972, in a unique Brazilian style 4-track EP, cut at 33rpm. A lovely idea but not so good for sound quality! More
Famous 'Sambista' and actress Doris Monteiro born in Rio in 1934 and had a career spanning over 60 years. This Samba Rock classic was penned by Jorge Ben Jr. Another find at the legendary Tony's Hits in Sao Paulo, one of Mr Bongo's all time favourite digging spots. Taken from her self-titled 1970 LP on Odeon Brazil. Previosuly unreleased on 7".
'Quarteto Em Cy', were a prolific and very popular Samba/MPB group comprising four sisters hailing from Ibirataia in Bahia. 'Tudo Que Voce Podia Ser' is one of our all time favourite Brazilian songs, originally written by Milton Nascimento & Lo Borges that appears on their seminal Clube da Esquina LP.
This version is taken from Quarteto's 1972 LP on Odeon. It was also released on a 7" in 1972, in a unique Brazilian style 4-track EP, cut at 33rpm. A lovely idea but not so good for sound quality! More
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Label:Mr Bongo
Cat-No:MRBLP305
Release-Date:31.05.2024
Genre:Jazz
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Finn Rees - Looking Up
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Finn Rees - Lagoon
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Finn Rees - Horizons
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Finn Rees - It's Behind Me Now
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Finn Rees - Expansion
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Finn Rees - End Of The Line
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Finn Rees - Crossing
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Finn Rees - Ablaze
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Finn Rees - Between Spaces
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Finn Rees - As It Passes
2 x Black Vinyl LP cut at 45RPM with double sided insert
Mr Bongo proudly presents the debut album from Tasmania-born, Melbourne-based, Finn Rees. Gliding across a swirling palette of saturated hues, Dawn Is A Melody feels vintage yet vibrant, new but familiar at the same time. A spiritual, deep and textured jazz record, tipping its hat to greats from the past, capturing memories and reformulating them into new ideas with the help of some of Melbourne’s finest talent.
Expert keys player for the likes of 30/70 and Elle Shimada, alongside one-half of Close Counters, this debut LP was Finn’s conscious departure from the realm of groove-based jazz. Instead, Dawn Is A Melody places the piano and arrangements centre stage, giving Finn and his fellow Melbourne crew freedom to explore the spaces in between, new emotions and alternate soundscapes.
In Finn’s own words: “My intention with Dawn Is A Melody was to create a world; a microcosm of colour. Something rich and beautiful that allowed the melodies and compositions to reach their full potential. It was driven by hope, curiosity and the search for beauty and reassurance in this ever-changing world. The emotion behind the music is really about the journey of life, growing up and changing, as well as my relationship with Tasmania’s natural landscapes where I grew up, a part of the world that is incredibly unique and beautiful.”
The album arcs between opening, middle and end. Beginning with the optimism of ‘Looking Up’ and ‘Lagoon’, the former a celestial, string and harp marbled slice of positivity, the latter a spiritual journey of exuberance and hope, Finn’s fingers dancing across the ‘70s Yamaha grand piano. From there the songs blossom outwards with the cinematic soulful journey of ‘It’s Behind Me Now’ and Brazilian-inspired ‘Expansion’, as the divine ‘Crossing’ signals a transition to a new realm. The energy is transformed from the rich cosmic textures to a more intimate and personal feeling with ‘Ablaze’, ‘Between Spaces’ and ‘As It Passes’ which blissfully fades down to simply piano and strings to close out the record.
Recorded at Rolling Stock in Collingwood, Melbourne, Henry Jenkins was drafted in as recording and mix engineer, his minimal vintage mic setups giving a live aesthetic and warmth to the arrangements. Lucky Pereira and Blakely McLean Davies form the rock-solid rhythm section, with a hand-picked line-up of other Melbourne talent on display, including Cheryl Durongpitikul on tenor sax, Siwei Wong on harp, Audrey Powne on trumpet and Allysha Joy on vocals to name only a few.
Plotting a course from Alice Coltrane, through Herbie Hancock, to Arthur Verocai, this is a debut nourished by the past but firmly made in the present. A record unable to be age-stamped, casting ambiguity as to when, what era and by whom it has been crafted. Like a vintage lens capturing a current scene, Dawn Is A Melody is warm and familiar yet focused on the here now. More
Mr Bongo proudly presents the debut album from Tasmania-born, Melbourne-based, Finn Rees. Gliding across a swirling palette of saturated hues, Dawn Is A Melody feels vintage yet vibrant, new but familiar at the same time. A spiritual, deep and textured jazz record, tipping its hat to greats from the past, capturing memories and reformulating them into new ideas with the help of some of Melbourne’s finest talent.
Expert keys player for the likes of 30/70 and Elle Shimada, alongside one-half of Close Counters, this debut LP was Finn’s conscious departure from the realm of groove-based jazz. Instead, Dawn Is A Melody places the piano and arrangements centre stage, giving Finn and his fellow Melbourne crew freedom to explore the spaces in between, new emotions and alternate soundscapes.
In Finn’s own words: “My intention with Dawn Is A Melody was to create a world; a microcosm of colour. Something rich and beautiful that allowed the melodies and compositions to reach their full potential. It was driven by hope, curiosity and the search for beauty and reassurance in this ever-changing world. The emotion behind the music is really about the journey of life, growing up and changing, as well as my relationship with Tasmania’s natural landscapes where I grew up, a part of the world that is incredibly unique and beautiful.”
The album arcs between opening, middle and end. Beginning with the optimism of ‘Looking Up’ and ‘Lagoon’, the former a celestial, string and harp marbled slice of positivity, the latter a spiritual journey of exuberance and hope, Finn’s fingers dancing across the ‘70s Yamaha grand piano. From there the songs blossom outwards with the cinematic soulful journey of ‘It’s Behind Me Now’ and Brazilian-inspired ‘Expansion’, as the divine ‘Crossing’ signals a transition to a new realm. The energy is transformed from the rich cosmic textures to a more intimate and personal feeling with ‘Ablaze’, ‘Between Spaces’ and ‘As It Passes’ which blissfully fades down to simply piano and strings to close out the record.
Recorded at Rolling Stock in Collingwood, Melbourne, Henry Jenkins was drafted in as recording and mix engineer, his minimal vintage mic setups giving a live aesthetic and warmth to the arrangements. Lucky Pereira and Blakely McLean Davies form the rock-solid rhythm section, with a hand-picked line-up of other Melbourne talent on display, including Cheryl Durongpitikul on tenor sax, Siwei Wong on harp, Audrey Powne on trumpet and Allysha Joy on vocals to name only a few.
Plotting a course from Alice Coltrane, through Herbie Hancock, to Arthur Verocai, this is a debut nourished by the past but firmly made in the present. A record unable to be age-stamped, casting ambiguity as to when, what era and by whom it has been crafted. Like a vintage lens capturing a current scene, Dawn Is A Melody is warm and familiar yet focused on the here now. More