1
Tete Mbambisa - Umthsakazi (The Bride)
2
Tete Mbambisa - Stay Cool
3
Tete Mbambisa - Black Hero's
4
Tete Mbambisa - Dembese (Dedicated To Cyril McGabane)
5
Tete Mbambisa - Unity
Repress!!
The album Tete’s Big Sound emerged during a golden age for local South African jazz recordings in the 1970s. Issued by the independent As-Shams/The Sun label in 1976, it was the first album attributed to pianist Tete Mbambisa as a solo artist. Yet, Mbambisa was already a seasoned composer, arranger, bandleader and performer by the mid-1970s - an artist at the peak of his powers who had patiently cultivated his craft to create his enduring debut.
Born in 1942 and raised in South Africa's Eastern Cape province, Mbambisa’s childhood home also served as the family’s small business - an informal tavern where social gatherings orbited around his mother’s carefully curated music collection and live performances by a local pianist. His musical roots are thus deeply embedded in marabi - the syncopated piano sound of urban black South African culture in the 1950s that took cues from American jazz, blues and ragtime while fostering the sensibilities that would shape modern South African jazz.
A self-taught musician, it was as the leader of the vocal group The Four Yanks that Tete Mbambisa’s music career began in earnest in the early 1960s. Mbambisa humbly recalls to this period as his education in harmonic structure but his special talent for musical arrangement was quickly recognised and widely admired. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and was a member of the award-winning Swinging City Six ensemble in 1963 (with the added distinction of receiving the Cold Castle Festival’s piano prize). Mbambisa went on to assemble and record with The Soul Jazzmen in the late 1960s and the group’s sole release Inhlupeko (1969) joined Winston Mankunku’s Yakhal' Inkomo (1968) and Chris Schilder’s Spring (1969) to create a wave of aspirational modern South African jazz albums that expanded the ambitions of artists and labels in the 1970s.
As a record store owner with a direct relationship to the jazz scene, producer Rashid Vally led the charge for the independent labels with early 1970s releases by Gideon Nxumalo and Abdullah Ibrahim on Soultown Records. Rebranding as As-Shams/The Sun for the release of Ibrahim’s Mannenberg - ‘Is Where It’s Happening’ in 1974, Vally’s breakout success found himself at the
helm of an autonomous production enterprise with access to mainstream studios, manufacturing and distribution. As-Shams/The Sun quickly earned a reputation as the home of the vanguard of local South African jazz, offering an unmatched platform for artists to create without compromise and attracting a host of South African jazz luminaries, including Mbambisa, as a consequence.
Leading on piano, Mbambisa enlisted the support of a five-piece brass section with guitar, bass and drums for the January 1976 recording session at Gallo Studios in Johannesburg that yielded
Tete’s Big Sound. The arrangements were meticulously prepared and confidently executed but there was more at stake than personal reputation for Mbambisa as a jazz creator in 1970s South Africa as Vusi Khumalo, writer of the album’s original liner notes, passionately extolls. Tete’s Big Sound was an affirmation of black excellence in modern arts and culture that calmly dismantled the doctrine of a regime that denied equality to black citizens on the basis of race. And while much of Mbambisa’s early work was guided by black heroes from the United States, Tete’s Big Sound articulated a voice that was both proudly South African and unmistakably his own. Reissued in collaboration with Tete Mbambisa and As-Sham/The Sun, Mad About Records’ 2021 edition of Tete’s Big Sound marks the album’s very first international release.
Using a quartet format, Mbambisa recorded a second album for As-Shams/The Sun entitled Did You Tell Your Mother in 1978 and unreleased sessions from this period have yet to be fully issued.
In recent years, Mbambisa has released a pair of live recordings in partnership with the Music Research Centre at the University of York. Turning 80 in 2022, Tete Mbambisa lives in Cape Town and continues to enchant audiences with ad hoc special appearances.
Text by Calum MacNaughton
Under License and Courtesy As-Shams/The Sun Records
___________________________________________________
Mad About Records wants to thank the generosity and collaboration of Rashid Vally and Calum MacNaughton.
___________________________________________________
All Music Composed & Arranged by Tete Mbambisa
Tete Mbambisa - Piano
Barney Rachabane - Alto Sax
Duku Makasi - Tenor Sax
Aubrey Simani - Tenor Sax
Freeman Lambatha - Baritone Sax
Tex Nduluka - Trumpet
Enoch Mthalani - Guitar
Sipho Gumede - Bass
Dick Khoza - Drums
Recorded in the Gallo Studio, Johannesburg (South Africa)
Recording Engineer: Peter Ceronio
Produced by Rashid Vally
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Liebigstrasse 2-20
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The album Tete’s Big Sound emerged during a golden age for local South African jazz recordings in the 1970s. Issued by the independent As-Shams/The Sun label in 1976, it was the first album attributed to pianist Tete Mbambisa as a solo artist. Yet, Mbambisa was already a seasoned composer, arranger, bandleader and performer by the mid-1970s - an artist at the peak of his powers who had patiently cultivated his craft to create his enduring debut.
Born in 1942 and raised in South Africa's Eastern Cape province, Mbambisa’s childhood home also served as the family’s small business - an informal tavern where social gatherings orbited around his mother’s carefully curated music collection and live performances by a local pianist. His musical roots are thus deeply embedded in marabi - the syncopated piano sound of urban black South African culture in the 1950s that took cues from American jazz, blues and ragtime while fostering the sensibilities that would shape modern South African jazz.
A self-taught musician, it was as the leader of the vocal group The Four Yanks that Tete Mbambisa’s music career began in earnest in the early 1960s. Mbambisa humbly recalls to this period as his education in harmonic structure but his special talent for musical arrangement was quickly recognised and widely admired. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and was a member of the award-winning Swinging City Six ensemble in 1963 (with the added distinction of receiving the Cold Castle Festival’s piano prize). Mbambisa went on to assemble and record with The Soul Jazzmen in the late 1960s and the group’s sole release Inhlupeko (1969) joined Winston Mankunku’s Yakhal' Inkomo (1968) and Chris Schilder’s Spring (1969) to create a wave of aspirational modern South African jazz albums that expanded the ambitions of artists and labels in the 1970s.
As a record store owner with a direct relationship to the jazz scene, producer Rashid Vally led the charge for the independent labels with early 1970s releases by Gideon Nxumalo and Abdullah Ibrahim on Soultown Records. Rebranding as As-Shams/The Sun for the release of Ibrahim’s Mannenberg - ‘Is Where It’s Happening’ in 1974, Vally’s breakout success found himself at the
helm of an autonomous production enterprise with access to mainstream studios, manufacturing and distribution. As-Shams/The Sun quickly earned a reputation as the home of the vanguard of local South African jazz, offering an unmatched platform for artists to create without compromise and attracting a host of South African jazz luminaries, including Mbambisa, as a consequence.
Leading on piano, Mbambisa enlisted the support of a five-piece brass section with guitar, bass and drums for the January 1976 recording session at Gallo Studios in Johannesburg that yielded
Tete’s Big Sound. The arrangements were meticulously prepared and confidently executed but there was more at stake than personal reputation for Mbambisa as a jazz creator in 1970s South Africa as Vusi Khumalo, writer of the album’s original liner notes, passionately extolls. Tete’s Big Sound was an affirmation of black excellence in modern arts and culture that calmly dismantled the doctrine of a regime that denied equality to black citizens on the basis of race. And while much of Mbambisa’s early work was guided by black heroes from the United States, Tete’s Big Sound articulated a voice that was both proudly South African and unmistakably his own. Reissued in collaboration with Tete Mbambisa and As-Sham/The Sun, Mad About Records’ 2021 edition of Tete’s Big Sound marks the album’s very first international release.
Using a quartet format, Mbambisa recorded a second album for As-Shams/The Sun entitled Did You Tell Your Mother in 1978 and unreleased sessions from this period have yet to be fully issued.
In recent years, Mbambisa has released a pair of live recordings in partnership with the Music Research Centre at the University of York. Turning 80 in 2022, Tete Mbambisa lives in Cape Town and continues to enchant audiences with ad hoc special appearances.
Text by Calum MacNaughton
Under License and Courtesy As-Shams/The Sun Records
___________________________________________________
Mad About Records wants to thank the generosity and collaboration of Rashid Vally and Calum MacNaughton.
___________________________________________________
All Music Composed & Arranged by Tete Mbambisa
Tete Mbambisa - Piano
Barney Rachabane - Alto Sax
Duku Makasi - Tenor Sax
Aubrey Simani - Tenor Sax
Freeman Lambatha - Baritone Sax
Tex Nduluka - Trumpet
Enoch Mthalani - Guitar
Sipho Gumede - Bass
Dick Khoza - Drums
Recorded in the Gallo Studio, Johannesburg (South Africa)
Recording Engineer: Peter Ceronio
Produced by Rashid Vally
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More records from Tete Mbambisa
1
Tete Mbambisa - Trane Ride
2
Tete Mbambisa - Past Time
3
Tete Mbambisa - Winter Time
4
Tete Mbambisa - Irene
Mbambisa first gained prominence as a pianist in 1961 as a member of the Jazz Giants, this time with Pukwana as saxophonist, bassist Martin Mgijima and drummer Makaya Mtoshoko, setting the sound and shape of a scene that became known as Cape Jazz. Following an introduction from Chris McGregor, Mbambisa formed a band, The Swinging City Six, with saxophonist Ronnie Beer before going on to play at the end of the 1960s in the groups The Soul Jazzmen and Spirits Rejoice with Duku Makasi. As a member of The Soul Jazzmen, Mbambisa recorded the breakthrough album 'Inhlupenko Distress' in 1969 for the City Special label. After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground. The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders. The music is often centred around a fulcrum of trance like vamps with repeated motifs that allow for extended pieces that create a hypnotic effect. This clearly exemplified on Mbambisa's next album, 'Did You Tell Your Mother', released in 1979, once more for The Sun label. (Tony Higgins)
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1
Tete Mbambisa - African Day
2
Tete Mbambisa - Khumbula Jane
3
Tete Mbambisa - Siviwe
4
Tete Mbambisa - Kohinoor
5
Tete Mbambisa - Mr. Mecca
6
Tete Mbambisa - Siyanda
7
Tete Mbambisa - Umsenge
8
Tete Mbambisa - Relaxin
9
Tete Mbambisa - Untitled For Duke Makasi
2LP set in a gatefold sleeve - first edition of 500 copies
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Mad About Records
1
Daniel Humair & Jean Charles Capon - Devil Race
2
Daniel Humair & Jean Charles Capon - Cafe Loco
3
Daniel Humair & Jean Charles Capon - Camelo Cello
4
Daniel Humair & Jean Charles Capon - Camelo Cello (Rhythmic)
5
Daniel Humair & Jean Charles Capon - Melicello
6
Daniel Humair & Jean Charles Capon - Melicello (Rhythmic)
7
Daniel Humair & Jean Charles Capon - Marchaleco
8
Daniel Humair & Jean Charles Capon - Apocalypse
9
Daniel Humair & Jean Charles Capon - Mortuorum
10
Daniel Humair & Jean Charles Capon - Classico
11
Daniel Humair & Jean Charles Capon - Luna March
12
Daniel Humair & Jean Charles Capon - Spacial Pizz
13
Daniel Humair & Jean Charles Capon - Space Laguna Bird
14
Daniel Humair & Jean Charles Capon - Boiled Bubbles
15
Daniel Humair & Jean Charles Capon - Water Mystic
Super Rare library recorded in 1980 by the powerful duo of percussionist Daniel Humair, one of the most avant-garde in the Swiss jazz evolution experiment, and the familiar and talented cellist Jean-Charles Capon (ex-Baroque Jazz Trio), who is associated with Jef Gilson and Henri Texier. A total of 15 songs that are a masterpiece in which the two performers' eye-opening acrobatics, including unexpected electric modulation, create an insanely hip groove at the edge of indigestion.
This magical production work was done by Christian Bonneau, a genius in the French radio music world who has worked on many national treasure-class libraries for Dominique Andre and Yan Tregger.
Licensed by Daniel Humair.
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This magical production work was done by Christian Bonneau, a genius in the French radio music world who has worked on many national treasure-class libraries for Dominique Andre and Yan Tregger.
Licensed by Daniel Humair.
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DE - 22113 Hamburg
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Contact: gpsr@wordandsound.netMore
1
Telstars - Mr. Odds And Ends
2
Telstars - World Of Tomorrow
3
Telstars - S.O.S.
4
Telstars - Tell Me Once Again
5
Telstars - Mary In The Morning
6
Telstars - No Liberation
7
Telstars - Sweet Liberation
8
Telstars - So lucky
9
Telstars - Making A Living
10
Telstars - Kool Reggae
RARE ISLANDS FUNK SOUL
Great soulful vocal ghetto-vibed funkiness from Barbados
Reissued for the First time
Watch out for funky version of Kool & The Gang's “Kool Reggae” and favorite songs of many DJs, such as “World of Tomorrow” or “Making a Living”.
Licensed by Phil Dino
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Liebigstrasse 2-20
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Great soulful vocal ghetto-vibed funkiness from Barbados
Reissued for the First time
Watch out for funky version of Kool & The Gang's “Kool Reggae” and favorite songs of many DJs, such as “World of Tomorrow” or “Making a Living”.
Licensed by Phil Dino
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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1
The Bam Jam Band - Keepin' On
2
The Bam Jam Band - Something About Love
ANOTHER KILLER DISCO FROM THE BAM JAM BAND
After taking by storm the global Disco community, with their quickly sold-out debut seven-inch, The Band Jam Band returns with another solid double sider.
"Keepin' on" it's a peak time raw and funky Disco Jazz instrumental, with a Latin inspired piano, a Gospel organ and a psychedelic synth solo, that will blow away the most discerning dancefloors.
"Something about love" is a meditative midtempo jam, perfect for a spiritual and soulful journey.
Already got support from Darryn Jones, Jacques Renault, Mike Sawe, Red Greg and Waxist!
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Liebigstrasse 2-20
DE - 22113 Hamburg
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After taking by storm the global Disco community, with their quickly sold-out debut seven-inch, The Band Jam Band returns with another solid double sider.
"Keepin' on" it's a peak time raw and funky Disco Jazz instrumental, with a Latin inspired piano, a Gospel organ and a psychedelic synth solo, that will blow away the most discerning dancefloors.
"Something about love" is a meditative midtempo jam, perfect for a spiritual and soulful journey.
Already got support from Darryn Jones, Jacques Renault, Mike Sawe, Red Greg and Waxist!
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1
Edward Fisher - Cruising
2
Edward Fisher - Making Love
3
Edward Fisher - Urban Nights
4
Edward Fisher - I Feel Good
5
Edward Fisher - The Promise
6
Edward Fisher - Colors
7
Edward Fisher - The Jam
BOOGIE JAZZ FUNK AT ITS BEST
Rare 1985 session from guitarist Eddie Fisher, the East St. Louis native whose best known for the jazz/funk albums “The Next One Hundred Years” and “The Third Cup”. Fisher, who died in 2007, never really achieved major stardom, but has become a cult figure over the last years, thanks in large part to DJs and crate diggers who discovered his music and spread the word.
Perhaps the most obscure item in his catalog, “The Promise” was issued only on vinyl in 1985 on Fisher's own Nentu label and has been out of print for years . Boogie Jazz Funk at its best.
Licensed by Christina Fisher
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Rare 1985 session from guitarist Eddie Fisher, the East St. Louis native whose best known for the jazz/funk albums “The Next One Hundred Years” and “The Third Cup”. Fisher, who died in 2007, never really achieved major stardom, but has become a cult figure over the last years, thanks in large part to DJs and crate diggers who discovered his music and spread the word.
Perhaps the most obscure item in his catalog, “The Promise” was issued only on vinyl in 1985 on Fisher's own Nentu label and has been out of print for years . Boogie Jazz Funk at its best.
Licensed by Christina Fisher
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DE - 22113 Hamburg
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1
Duo Ouro Negro - Dança do Robalinho, pt.1
2
Duo Ouro Negro - Dança do Robalinho, pt.2
ANGOLA KILLER JAZZ-FUNK
Milo MacMahon and Raúl Indipwo, arrived to Portugal in 1959 and, over next three decades, they developed an international career in the music industry.
In addition to Portuguese and the various Angolan languages, the group recorded songs such as “Sylvie”, “La Kwela” and “Le Palmier” in French, among others, and also covered Latin American, Spanish-speaking, Brazilian and even North American repertoires, where on their various tours they came into contact with the struggle for the Civil Rights of the black population.
In 1969 Duo Ouro Negro went on tour to the United States. Their experience there was decisive for what we would come to know three years later. “Don't forget your blackground”, Raul Indipwo would exclaim in 1972, the voice of ‘Blackground’, the Angolan band's landmark album. Awakened to the activism of Black Power, attentive to the jazz that was being created on American soil, combined with an interest in the independence movements of the African colonies, what was then the most international of Portuguese bands recorded an album in Lisbon that was a vibrant cultural statement through music.
In 1981, “Blackground” was revised with new arrangements, including the instrumental “Dança do Robalinho”. Jazz-Funk at its best and now reissued for the first time in 7” format.
You can't miss this jazz-funk gem made in Angola.
Licensed by Ana Vitória Pereira
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Milo MacMahon and Raúl Indipwo, arrived to Portugal in 1959 and, over next three decades, they developed an international career in the music industry.
In addition to Portuguese and the various Angolan languages, the group recorded songs such as “Sylvie”, “La Kwela” and “Le Palmier” in French, among others, and also covered Latin American, Spanish-speaking, Brazilian and even North American repertoires, where on their various tours they came into contact with the struggle for the Civil Rights of the black population.
In 1969 Duo Ouro Negro went on tour to the United States. Their experience there was decisive for what we would come to know three years later. “Don't forget your blackground”, Raul Indipwo would exclaim in 1972, the voice of ‘Blackground’, the Angolan band's landmark album. Awakened to the activism of Black Power, attentive to the jazz that was being created on American soil, combined with an interest in the independence movements of the African colonies, what was then the most international of Portuguese bands recorded an album in Lisbon that was a vibrant cultural statement through music.
In 1981, “Blackground” was revised with new arrangements, including the instrumental “Dança do Robalinho”. Jazz-Funk at its best and now reissued for the first time in 7” format.
You can't miss this jazz-funk gem made in Angola.
Licensed by Ana Vitória Pereira
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Contact: gpsr@wordandsound.netMore
1
Dom Salvador E Abolição - Uma Vida
2
Dom Salvador E Abolição - Guanabara
3
Dom Salvador E Abolição - Hei! Você
4
Dom Salvador E Abolição - Som, Sangue E Raça
5
Dom Salvador E Abolição - Tema Pro Gaguinho
6
Dom Salvador E Abolição - O Rio
7
Dom Salvador E Abolição - Evo
8
Dom Salvador E Abolição - Number one
9
Dom Salvador E Abolição - Folia De Reis
10
Dom Salvador E Abolição - Moeda, Reza E Côr
11
Dom Salvador E Abolição - Samba Do Malandrinho
12
Dom Salvador E Abolição - Tio Macrô
180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve
This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.
The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.
Tracklist:
Side A: A1.Uma Vida – A2. Guanabara – A3. Hei! Você – A4. Som, Sangue E Raça – A5. Tema Pro Gaguinho – A6. O Rio
Side B: B1. Evo – B2. Number One – B3. Folia de Reis – B4. Moeda, Reza E Côr – B5. Samba Do Malandrinho – B6. Tio Macrô
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.
The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.
Tracklist:
Side A: A1.Uma Vida – A2. Guanabara – A3. Hei! Você – A4. Som, Sangue E Raça – A5. Tema Pro Gaguinho – A6. O Rio
Side B: B1. Evo – B2. Number One – B3. Folia de Reis – B4. Moeda, Reza E Côr – B5. Samba Do Malandrinho – B6. Tio Macrô
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1
Quintessence - Between Thoughts
2
Quintessence - Breeze
3
Quintessence - In My Apartment
4
Quintessence - Marketplace
5
Quintessence - Can't Stop Now
6
Quintessence - Moments Of Silence
7
Quintessence - Why Must I Go (Through These Changes)
DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI + DOWNLOAD CARD
Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.
Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.
If you are into Fender Rhodes, this is an LP to be collected.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.
Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.
If you are into Fender Rhodes, this is an LP to be collected.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Belair - Close Enough For Jazz
2
Belair - Money Isn't Everything
3
Belair - Debby Duck
4
Belair - Samba For A Cold Warrior
5
Belair - Cruisin' With Mr. B
6
Belair - Morning Rainwalk
7
Belair - Something's Cooking (& It Ain't A T-Bone)
8
Belair - Caffeine
DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI
Private pressings have always been objects of demand and research by record collectors. In most cases, print runs were no more than 300 copies, and despite the total lack of recognition, this movement can be seen as a countercurrent act to the mass music industry. Private presses are non-commercial print runs distributed as a promotion or sold at concerts.
This was the case of Belair that, in 1980, recorded and sold the album “Relax, You're Soaking In It” at their own risk and distributed it in the San Francisco area. At the time, 1000 copies were pressed, which have become rare and highly desirable for collectors.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Private pressings have always been objects of demand and research by record collectors. In most cases, print runs were no more than 300 copies, and despite the total lack of recognition, this movement can be seen as a countercurrent act to the mass music industry. Private presses are non-commercial print runs distributed as a promotion or sold at concerts.
This was the case of Belair that, in 1980, recorded and sold the album “Relax, You're Soaking In It” at their own risk and distributed it in the San Francisco area. At the time, 1000 copies were pressed, which have become rare and highly desirable for collectors.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Majoie Hajary - Prologue
2
Majoie Hajary - Judas
3
Majoie Hajary - Gethsemani
4
Majoie Hajary - Piere
5
Majoie Hajary - La Mort De Judas
6
Majoie Hajary - Notre Pere
7
Majoie Hajary - Le Verbe
DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI
Majoie Hajary is an atypical musician. Born in Paramaribo (Suriname) to Indian parents and raised in Amsterdam. In 1970, in France, accompanied by the best Jazz musicians and with arrangements by Roger Guerin, she recorded “La Passion Selon Judas”.
The result was an incredible fusion of Psych, Funk, Indian and Jazz elements – deep religious Jazz in the vein of Jef Gilson.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Majoie Hajary is an atypical musician. Born in Paramaribo (Suriname) to Indian parents and raised in Amsterdam. In 1970, in France, accompanied by the best Jazz musicians and with arrangements by Roger Guerin, she recorded “La Passion Selon Judas”.
The result was an incredible fusion of Psych, Funk, Indian and Jazz elements – deep religious Jazz in the vein of Jef Gilson.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Fisher - Cosmic Blues
2
Fisher - Do You Like It
3
Fisher - I'll Be Good To You
4
Fisher - Give Me Lend Me Loan Me Let Me Have
5
Fisher - Energy
6
Fisher - Good Old Days
7
Fisher - The Sunrise
8
Fisher - Music Makes Me Feel Good
DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI
A rare album, “Fisher” was originally released on the Nentu label in 1976.
Think Grant Green meets Eddie Hazel.
This LP has it all: gorgeous Soul Jazz, wahed-out fuzz Rock, dirty, head-nodding Funk Rhythms.
It's a monster psychedelic soul-funk instrumental album. This is less jazzy than the “Third Cup” and “The Next One Hundred Years”, released by Chicago’s Cadet label and more cosmic psych funk across both sides and gets super exploratory and trippy.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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A rare album, “Fisher” was originally released on the Nentu label in 1976.
Think Grant Green meets Eddie Hazel.
This LP has it all: gorgeous Soul Jazz, wahed-out fuzz Rock, dirty, head-nodding Funk Rhythms.
It's a monster psychedelic soul-funk instrumental album. This is less jazzy than the “Third Cup” and “The Next One Hundred Years”, released by Chicago’s Cadet label and more cosmic psych funk across both sides and gets super exploratory and trippy.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Judy Freeman & Blackrock - Hold On
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Ted Taylor - Somebody's Always Trying
The 70s Funky Northern Soul masterpiece by New York-born soul singer Judy Freeman is reissued for the first time on 7"
Ted Taylor was chronically unappreciated throughout his career. "Somebody's Always Trying" by Ted Taylor is a magnificent uptempo dance floor filler with a pounding rhythm, powerful drums, rocking horns and a great frantic, exasperated vocal. This stuff makes you immediately say, “Who is this?”
Licensed by Sony Music Portugal
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Ted Taylor was chronically unappreciated throughout his career. "Somebody's Always Trying" by Ted Taylor is a magnificent uptempo dance floor filler with a pounding rhythm, powerful drums, rocking horns and a great frantic, exasperated vocal. This stuff makes you immediately say, “Who is this?”
Licensed by Sony Music Portugal
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Paulo Moura Hepteto - Bonita
2
Paulo Moura Hepteto - Travessia
3
Paulo Moura Hepteto - Das Tardes Mais Sós
4
Paulo Moura Hepteto - Homem Do Meu Mundo
5
Paulo Moura Hepteto - Bitucada
6
Paulo Moura Hepteto - Nem Precisou Mais Um Sol
7
Paulo Moura Hepteto - No Brilho Da Faca
8
Paulo Moura Hepteto - Wave
9
Paulo Moura Hepteto - Très Pontas
10
Paulo Moura Hepteto - Outubro
One of the greatest musicians in the history of Brazilian music. Conductor, composer, arranger, band leader and, without a doubt, one of Brazil's most brilliant sax and flute players.
In 68, Paulo Moura brought together a notable group from the country's jazz and instrumental music to record the album "Mensagem". He walked between African rhythm and American and European avant-garde, transforming the Brazilian soul.
Licensed by Halina Grynberg
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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In 68, Paulo Moura brought together a notable group from the country's jazz and instrumental music to record the album "Mensagem". He walked between African rhythm and American and European avant-garde, transforming the Brazilian soul.
Licensed by Halina Grynberg
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Christian Gaubert - It
2
Christian Gaubert - Man On A Wire
3
Christian Gaubert - Sweet And Fool Like A Child
4
Christian Gaubert - Going Ups And Coming Downs
5
Christian Gaubert - Sweet Maryline
6
Christian Gaubert - Keep On ! Keep On
7
Christian Gaubert - We're Together
8
Christian Gaubert - Running Wave
LP DELUXE EDITION
180g. VINYL + HARD CARDBOARD COVER + OBI
Killer French Boogie, Jazz-Funk album by the prolific arranger/composer Christian Gaubert, feat. Some of the key musicians of the French jazz scene of the 70s.
French Soul masterpiece with the Rare Groove classic “Sweet Maryline” and “Sweet and Fool Like a Child” beautifully reissued here and remastered from the original master tapes.
_____________________________________________________
released October 9, 2023
Piano [Fender Rhodes], Piano, Synthesizer – Christian Gaubert
Arranged By – Christian Gaubert
Baritone Saxophone – Jean-Louis Chautemps, Romain Mayoral
Bass Guitar – Jannick Top
Drums – Dino Latore
Drums, Percussion – Jean Schultheis
Electric Guitar – Claude Engel, Raymond Gimenes
Percussion – Marc Chantereau
Tenor Saxophone – Alain Hatot, Jean Pierre De Barba, Patrick Bourgoin
Trombone – Christian Guizien, Hamid Belhocine, Jacques Bolognesi
Trumpet – André Lidli, Freddy Houseplan, Kako Bessot, Tony Brenes
Vocals – Last Exit
Licensed by GM Musipro
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
180g. VINYL + HARD CARDBOARD COVER + OBI
Killer French Boogie, Jazz-Funk album by the prolific arranger/composer Christian Gaubert, feat. Some of the key musicians of the French jazz scene of the 70s.
French Soul masterpiece with the Rare Groove classic “Sweet Maryline” and “Sweet and Fool Like a Child” beautifully reissued here and remastered from the original master tapes.
_____________________________________________________
released October 9, 2023
Piano [Fender Rhodes], Piano, Synthesizer – Christian Gaubert
Arranged By – Christian Gaubert
Baritone Saxophone – Jean-Louis Chautemps, Romain Mayoral
Bass Guitar – Jannick Top
Drums – Dino Latore
Drums, Percussion – Jean Schultheis
Electric Guitar – Claude Engel, Raymond Gimenes
Percussion – Marc Chantereau
Tenor Saxophone – Alain Hatot, Jean Pierre De Barba, Patrick Bourgoin
Trombone – Christian Guizien, Hamid Belhocine, Jacques Bolognesi
Trumpet – André Lidli, Freddy Houseplan, Kako Bessot, Tony Brenes
Vocals – Last Exit
Licensed by GM Musipro
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Fernando Oly - Chuva Da Montanha
2
Fernando Oly - Cheiro De Romã
3
Fernando Oly - No Reino Da Bicharada
4
Fernando Oly - Birimbóca
5
Fernando Oly - Pra Onde O Vento A Vela Levar
6
Fernando Oly - Sonhos Claros
7
Fernando Oly - Alto Mar
8
Fernando Oly - Bárbara Bela
9
Fernando Oly - Dona Baratinha
10
Fernando Oly - Quand Os Beatles Voltarem...
LP DELUXE EDITION 180g. VINYL + HARD CARDBOARD COVER + OBI + REPLICA OF THE ORIGINAL INSERT + DOWNLOAD CARD
Fernando Oly is a musician who was part of Lô Borges' band and took part in the recording of the album "Via Láctea" in 1979. He placed one of his compositions among the album's tracks: "Chuva na Montanha", whose original version was also included on “Tempo Prá Tudo”
Licensed by Fernando Oly
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Fernando Oly is a musician who was part of Lô Borges' band and took part in the recording of the album "Via Láctea" in 1979. He placed one of his compositions among the album's tracks: "Chuva na Montanha", whose original version was also included on “Tempo Prá Tudo”
Licensed by Fernando Oly
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1
Namaz - Vom Regenbogen
2
Namaz - Short Funky
3
Namaz - Congress Of Dreams
4
Namaz - For Making The Blue
5
Namaz - Anticipated Joy
6
Namaz - Movin’ Seconds
7
Namaz - Mystic Latin
8
Namaz - Take Me Away
9
Namaz - Cyklus III
80g. VINYL + HARD CARDBOARD COVER + OBI + DOWNLOAD CARD
“300 MPH” debut album by Namaz was originally released in 1981 by German group led by guitarist Werner Goos. Jazz Fusion at its best with a Latin-Brazilian touch.
Licensed by Werner Goos
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“300 MPH” debut album by Namaz was originally released in 1981 by German group led by guitarist Werner Goos. Jazz Fusion at its best with a Latin-Brazilian touch.
Licensed by Werner Goos
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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1
Leila Pinheiro - Tudo Em Cima
2
Leila Pinheiro - Bons Amigos
3
Leila Pinheiro - Vai Ficar No Ar
4
Leila Pinheiro - Coração Vagabundo
5
Leila Pinheiro - Falando De Amor
6
Leila Pinheiro - A Porta
7
Leila Pinheiro - Luca De Cetim
8
Leila Pinheiro - Espelho Das Águas
9
Leila Pinheiro - Mãos De Afeto
10
Leila Pinheiro - Passarinha
11
Leila Pinheiro - Cão Sem Dono
12
Leila Pinheiro - Nossa Rua
GATEFOLD LP DELUXE EDITION
180g. VINYL + HARD CARDBOARD COVER + OBI
Leila Pinheiro is a legendary Brazilian singer, songwriter, and pianist. Over her 41-year career, she has released over 20 albums, showcasing her musical versatility and creativity. Her debut album, "Leila Pinheiro,” included the boogie anthem “Tudo em cima”, which featured the participation of renowned musicians such as Tom Jobim, Ivan Lins, Francis Hime, João Donato, and Lincoln Olivetti.
In 1970, Leila began her piano studies under the guidance of the legendary Guilherme Coutinho.
As part of celebrating the 40th anniversary of this important milestone in Brazilian music, Mad About Records presents a worldwide vinyl reissue for the first time.
Under exclusive License by Leila Pinheiro
Acoustic Guitar – Tunai, Toninho Horta, Alberto Arantes
Electric Guitar – Hélio Capucci
Electric Piano – Lincoln Olivetti
Guitar – Luiz Claudio, Hélio Capucci
Bass – Luiz Alves
Drums – João Cortez
Piano – Luís Avelar, Gilson Peranzzetta, Reinaldo Arias, Francis Hime, Antonio Carlos , Jobim Ivan Lins, João Donato
Bass – Jamil Joanes
Percussion – Ariovaldo
Bagpipes – Mauricio Einhorn
Producer [Direção de Produção] – Raymundo Bittencourt
Arranged By – Luís Avelar, Dori Caymmi
Technician [Técnicos de Gravação] – Eduardo Ramalho
Mixed By – Célio Martins, Max Pierre
Liner Notes – Billy Blanco
Gravado nos Estúdios da Sigla - RJ
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Germany
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180g. VINYL + HARD CARDBOARD COVER + OBI
Leila Pinheiro is a legendary Brazilian singer, songwriter, and pianist. Over her 41-year career, she has released over 20 albums, showcasing her musical versatility and creativity. Her debut album, "Leila Pinheiro,” included the boogie anthem “Tudo em cima”, which featured the participation of renowned musicians such as Tom Jobim, Ivan Lins, Francis Hime, João Donato, and Lincoln Olivetti.
In 1970, Leila began her piano studies under the guidance of the legendary Guilherme Coutinho.
As part of celebrating the 40th anniversary of this important milestone in Brazilian music, Mad About Records presents a worldwide vinyl reissue for the first time.
Under exclusive License by Leila Pinheiro
Acoustic Guitar – Tunai, Toninho Horta, Alberto Arantes
Electric Guitar – Hélio Capucci
Electric Piano – Lincoln Olivetti
Guitar – Luiz Claudio, Hélio Capucci
Bass – Luiz Alves
Drums – João Cortez
Piano – Luís Avelar, Gilson Peranzzetta, Reinaldo Arias, Francis Hime, Antonio Carlos , Jobim Ivan Lins, João Donato
Bass – Jamil Joanes
Percussion – Ariovaldo
Bagpipes – Mauricio Einhorn
Producer [Direção de Produção] – Raymundo Bittencourt
Arranged By – Luís Avelar, Dori Caymmi
Technician [Técnicos de Gravação] – Eduardo Ramalho
Mixed By – Célio Martins, Max Pierre
Liner Notes – Billy Blanco
Gravado nos Estúdios da Sigla - RJ
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Grupo Medusa was one of the best instrumental bands in Brazil during the 70s and 80s, blending Jazz, African Influences, and traditional Brazilian Rhythms.
Formed By Chico Medori, Claudio Bertrami, Amilson Godoy and Heraldo do Monte.
Original release in 1981, reissued for the first time Worldwide.
Tracklist:
A1. Baiana – A2. Zeby – A3. Caminhos – A4. Medusa
B1. Pé No Ch?ão – B2. Asa Delta – B3. Uma Viagem – B4. Ponto de Fusão
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Formed By Chico Medori, Claudio Bertrami, Amilson Godoy and Heraldo do Monte.
Original release in 1981, reissued for the first time Worldwide.
Tracklist:
A1. Baiana – A2. Zeby – A3. Caminhos – A4. Medusa
B1. Pé No Ch?ão – B2. Asa Delta – B3. Uma Viagem – B4. Ponto de Fusão
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Dana Kaproff - Brownstones
2
Dana Kaproff - Piranha
3
Dana Kaproff - China White
4
Dana Kaproff - Snowdrift
5
Dana Kaproff - Strawberry Canyon
6
Dana Kaproff - Sandcastle
7
Dana Kaproff - Mariposa
8
Dana Kaproff - Aviary
LP DELUXE EDITION
180g. VINYL + HARD CARDBOARD COVER + OBI + DOWNLOAD CARD
Jazz Funk Masterpiece reissued for the first time Worldwide.
For every celebrated record in jazz, soul, and related music, there are probably thousands more with all the genius for which widespread recognition never came or was delayed.
In 1976, Dana Kaproff released one of the most wanted jazz-funk albums recorded in Los Angeles.
A jazz fusion record for the discerning connoisseur. Tight drums and well-programmed synths. Excellent production and recording. Fans of 70s Herbie Hancock, George Duke, Weather Report, funky library records... heads up.
Tracklist:
A1. Brownstones – A2. Piranha – A3. China White – A4. Snowdrift
B1. Strawberry Canyon – B2. Sandcastle – B3. Mariposa – B4. Aviary
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
180g. VINYL + HARD CARDBOARD COVER + OBI + DOWNLOAD CARD
Jazz Funk Masterpiece reissued for the first time Worldwide.
For every celebrated record in jazz, soul, and related music, there are probably thousands more with all the genius for which widespread recognition never came or was delayed.
In 1976, Dana Kaproff released one of the most wanted jazz-funk albums recorded in Los Angeles.
A jazz fusion record for the discerning connoisseur. Tight drums and well-programmed synths. Excellent production and recording. Fans of 70s Herbie Hancock, George Duke, Weather Report, funky library records... heads up.
Tracklist:
A1. Brownstones – A2. Piranha – A3. China White – A4. Snowdrift
B1. Strawberry Canyon – B2. Sandcastle – B3. Mariposa – B4. Aviary
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Masako Ohta, Matthias Lindermayr - A2) Oli's Balloon
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Masako Ohta, Matthias Lindermayr - A3) All Good Things Are Four
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Masako Ohta, Matthias Lindermayr - A4) Tolv
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LP
Special remarks:
180g
Tracklist:
A1) Trudelutt 05:03 min
A2) Oli's Balloon 02:22 min
A3) All Good Things Are Four 05:04 min
A4) Tolv 03:13 min
A5) Sora 03:45 min
A6) Kogia 05:39 min
B1) Ayet 08:49 min
B2) Penguin 04:29 min
B3) La 04:23 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr's music flows in gentle waves, moving with ease between every theme they imagine. Their music is largely improvised, embracing chance and following sound down winding paths. Their debut collaborative album, MMMMH, highlights this loose process through its relaxed pace, surprising turns, and drifting style. The album presents small vignettes that each encapsulate their free-flowing motion and tranquil melodies, drawing from simple ideas to create a fully bloomed, radiant sound.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Special remarks:
180g
Tracklist:
A1) Trudelutt 05:03 min
A2) Oli's Balloon 02:22 min
A3) All Good Things Are Four 05:04 min
A4) Tolv 03:13 min
A5) Sora 03:45 min
A6) Kogia 05:39 min
B1) Ayet 08:49 min
B2) Penguin 04:29 min
B3) La 04:23 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr's music flows in gentle waves, moving with ease between every theme they imagine. Their music is largely improvised, embracing chance and following sound down winding paths. Their debut collaborative album, MMMMH, highlights this loose process through its relaxed pace, surprising turns, and drifting style. The album presents small vignettes that each encapsulate their free-flowing motion and tranquil melodies, drawing from simple ideas to create a fully bloomed, radiant sound.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Mad Professor - Avianca Dubs - Dub 1
2
Mad Professor - Avianca Dubs - Dub 2
Mad Professor is a dub legend. We can't say much more about this release other than it's two dubs of a beautiful record and all time classic and there will be more to follow...
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Poeji - Akin (02:51 min)
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Poeji - Cathedral (05:45 min)
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Poeji - Whoo (04:45 min)
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Poeji - Anirugui (04:33 min)
5
Poeji - Buuwein Duu (02:11 min)
6
Poeji - Ybbs (04:16 min)
7
Poeji - Tunneling (03:32 min)
8
Poeji - Ipê (05:36 min)
Special remarks: 180g
Tracklist:
A1) Akin (02:51 min)
A2) Cathedral (05:45 min)
A3) Whoo (04:45 min)
A4) Anirugui (04:33 min)
B1) Buuwein Duu (02:11 min)
B2) Ybbs (04:16 min)
B3) Tunneling (03:32 min)
B4) Ipê (05:36 min)
Info:
Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist:
A1) Akin (02:51 min)
A2) Cathedral (05:45 min)
A3) Whoo (04:45 min)
A4) Anirugui (04:33 min)
B1) Buuwein Duu (02:11 min)
B2) Ybbs (04:16 min)
B3) Tunneling (03:32 min)
B4) Ipê (05:36 min)
Info:
Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Masako Ohta, Matthias Lindermayr - Hatsuhinode (06:54 min)
2
Masako Ohta, Matthias Lindermayr - Agora (02:38 min)
3
Masako Ohta, Matthias Lindermayr - Ostinato (03:56 min)
4
Masako Ohta, Matthias Lindermayr - Hibari (04:59 min)
5
Masako Ohta, Matthias Lindermayr - Maya (06:55 min)
6
Masako Ohta, Matthias Lindermayr - Shizuku (04:40 min)
7
Masako Ohta, Matthias Lindermayr - Niwa (04:06 min)
8
Masako Ohta, Matthias Lindermayr - Tio (08:03 min)
LP
Special remarks: 180g
Tracklist:
A1) Hatsuhinode 06:55 min
A2) Agora 02:39 min
A3) Ostinato 03:56 min
A4) Hibari 04:59 min
B1) Maya 06:55 min
B2) Shizuku 04:40 min
B3) Niwa 04:07 min
B4) Tio 08:04 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'.
The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope.
The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form.
Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Special remarks: 180g
Tracklist:
A1) Hatsuhinode 06:55 min
A2) Agora 02:39 min
A3) Ostinato 03:56 min
A4) Hibari 04:59 min
B1) Maya 06:55 min
B2) Shizuku 04:40 min
B3) Niwa 04:07 min
B4) Tio 08:04 min
Info:
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'.
The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope.
The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form.
Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Territories: Worldwide no restrictions
Format Notes: Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Hot Heels 2:50
A2 It's Gospel 2:49
A3 Steam Heat 2:59
A4 Fly Away 2:45
A5 His Name Was 2:35
A6 Swing Over 2:18
A7 Touch Of Warmth 2:40
B1 Voice Force Nine 2:13
B2 Very Fine Fellow 1:58
B3 Shades-Tones 3:27
B4 I'm Feather 2:09
B5 Drifting 2:24
B6 Take Off 1:58
B7 Fly Paradise 2:18
Release Notes:
Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.
Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.
The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.
In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.
The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Hot Heels 2:50
A2 It's Gospel 2:49
A3 Steam Heat 2:59
A4 Fly Away 2:45
A5 His Name Was 2:35
A6 Swing Over 2:18
A7 Touch Of Warmth 2:40
B1 Voice Force Nine 2:13
B2 Very Fine Fellow 1:58
B3 Shades-Tones 3:27
B4 I'm Feather 2:09
B5 Drifting 2:24
B6 Take Off 1:58
B7 Fly Paradise 2:18
Release Notes:
Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.
Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.
The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.
In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.
The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Steve Hiett - Are These My Memories?
2
Steve Hiett - Walking Across The Field
3
Steve Hiett - Summer Stroll
4
Steve Hiett - It’s Raining Tomorrow
5
Steve Hiett - Dancing In July
6
Steve Hiett - Shadows Across The Path
7
Steve Hiett - Waiting By The Car
8
Steve Hiett - Kinda Knew Anna
9
Steve Hiett - Love That Bird
10
Steve Hiett - More Rain In The Woods
202r4 repress
Worldwide no exceptions
LP Format Notes:
Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes.
LP Track List:
A1 : Are These My Memories?
A2 : Walking Across The Field
A3 : Summer Stroll
A4 : It’s Raining Tomorrow
A5 : Dancing In July
B1 : Shadows Across The Path
B2 : Waiting By The Car
B3 : Kinda Knew Anna
B4 : Love That Bird
B5 : More Rain In The Woods
Release Notes:
Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).
While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.
Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.
Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.
Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Worldwide no exceptions
LP Format Notes:
Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes.
LP Track List:
A1 : Are These My Memories?
A2 : Walking Across The Field
A3 : Summer Stroll
A4 : It’s Raining Tomorrow
A5 : Dancing In July
B1 : Shadows Across The Path
B2 : Waiting By The Car
B3 : Kinda Knew Anna
B4 : Love That Bird
B5 : More Rain In The Woods
Release Notes:
Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).
While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.
Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.
Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.
Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Territories: Worldwide no restrictions
Format Notes: Part of Be With x KPM Library Reissue Campaign, 2024 first time vinyl reissue, 140g vinyl
Track List:
A1 Brian Bennett – Image 4:29
A2 Neil Richardson – The Little Orphan 2:27
A3 David Gold / Gordon Rees – Paradise Island 2:19
A4 David Gold / Gordon Rees – Forbidden Fruit 2:19
A5 David Gold / Gordon Rees – The Enchantress 2:56
A6 David Gold – Phenomena 2:41
B1 John Scott – Infinite Expanse 1:46
B2 John Scott – Static Objects 2:31
B3 John Fiddy – Metamorphosis 2:37
B4 Neil Richardson – Cubist Pictures 2:12
B5 Neil Richardson – Analysis 2:04
B6 Neil Richardson – Crystal Ball 2:38
B7 Steve Gray – Gliding Through Clouds 2:55
Release Notes:
Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…
Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.
Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.
As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format Notes: Part of Be With x KPM Library Reissue Campaign, 2024 first time vinyl reissue, 140g vinyl
Track List:
A1 Brian Bennett – Image 4:29
A2 Neil Richardson – The Little Orphan 2:27
A3 David Gold / Gordon Rees – Paradise Island 2:19
A4 David Gold / Gordon Rees – Forbidden Fruit 2:19
A5 David Gold / Gordon Rees – The Enchantress 2:56
A6 David Gold – Phenomena 2:41
B1 John Scott – Infinite Expanse 1:46
B2 John Scott – Static Objects 2:31
B3 John Fiddy – Metamorphosis 2:37
B4 Neil Richardson – Cubist Pictures 2:12
B5 Neil Richardson – Analysis 2:04
B6 Neil Richardson – Crystal Ball 2:38
B7 Steve Gray – Gliding Through Clouds 2:55
Release Notes:
Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…
Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.
Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.
As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
* Listen: https://open.spotify.com/track/5oS60iZAtHVmHc9QUs2ciW?si=8f220915bef44eda
* The legendary music publisher KPM, famous for its iconic music library catalogue, commissioned a group of session musicians in 2018 to write and record an authentic tribute to the early 70’s Latin Soul Boogaloo blending heavy funk/soul with the infectious latin rhythms (cha cha, mambo, rumba and bossa nova)
* Although not originally intended for commercial release, this vinyl LP is a limited pressing of just 500 copies and features 15 new songs inspired by pioneers such as Tito Puente, Ray Barretto and Machito.
* Ray Lopez and his band recorded the session in the traditional way for this style using vintage microphones direct to analogue tape to get that classic authentic tone
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
* The legendary music publisher KPM, famous for its iconic music library catalogue, commissioned a group of session musicians in 2018 to write and record an authentic tribute to the early 70’s Latin Soul Boogaloo blending heavy funk/soul with the infectious latin rhythms (cha cha, mambo, rumba and bossa nova)
* Although not originally intended for commercial release, this vinyl LP is a limited pressing of just 500 copies and features 15 new songs inspired by pioneers such as Tito Puente, Ray Barretto and Machito.
* Ray Lopez and his band recorded the session in the traditional way for this style using vintage microphones direct to analogue tape to get that classic authentic tone
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Al Hirt - Honey Pot
2
Al Hirt - Mess Around
3
Al Hirt - Calypsoul
4
Al Hirt - Long Gone
5
Al Hirt - Sweetlips
6
Al Hirt - Girl
7
Al Hirt - Love Ya' Baby
8
Al Hirt - Sunday-Goin' To Meetin' Time
9
Al Hirt - Snap Back
10
Al Hirt - Harlem Hendoo
11
Al Hirt - Ludwig
Format Notes: 2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Ezra Feinberg - A1. Future Sand (feat. David Lackner)
2
Ezra Feinberg - A2. Soft Power (feat. David Lackner)
3
Ezra Feinberg - A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
4
Ezra Feinberg - A4. Flutter Intensity (feat. Russell Greenberg)
5
Ezra Feinberg - B1. The Big Clock (feat. David Moore, Britt Hewitt)
6
Ezra Feinberg - B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
7
Ezra Feinberg - B3. Get Some Rest (feat. Mary Lattimore)
1. LTD LP - Territory: WW Minus UK/Eire,Usa, Canada
- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Alternative / Experimental / Ambient
3. TRACKLISTS: see next page
Please add track lists for all listed formats.
A1. Future Sand (feat. David Lackner)
A2. Soft Power (feat. David Lackner)
A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
A4. Flutter Intensity (feat. Russell Greenberg)
B1. The Big Clock (feat. David Moore, Britt Hewitt)
B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
B3. Get Some Rest (feat. Mary Lattimore)
4. SHORT INFO:
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
5. VITAL SALES POINTS:
- PR + Radio campaign by Five Worlds (UK/USA) / Dense PR + Radio campaign (EU)
6.
Ezra Feinberg - Previous Press / Quotes
"Invites you to a world so vivid and intricately textured that you might feel like you are part of it"
- Pitchfork
"Gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime"
- Aquarium Drunkard
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Alternative / Experimental / Ambient
3. TRACKLISTS: see next page
Please add track lists for all listed formats.
A1. Future Sand (feat. David Lackner)
A2. Soft Power (feat. David Lackner)
A3. Pose Beams (feat. Jefre Cantu-Ledesma, Robbie Lee)
A4. Flutter Intensity (feat. Russell Greenberg)
B1. The Big Clock (feat. David Moore, Britt Hewitt)
B2. There Was Somebody There (feat. David Moore, Jefre Cantu-Ledesma)
B3. Get Some Rest (feat. Mary Lattimore)
4. SHORT INFO:
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
5. VITAL SALES POINTS:
- PR + Radio campaign by Five Worlds (UK/USA) / Dense PR + Radio campaign (EU)
6.
Ezra Feinberg - Previous Press / Quotes
"Invites you to a world so vivid and intricately textured that you might feel like you are part of it"
- Pitchfork
"Gently propulsive gems that evoke the kosmische sounds of Michael Rother, Brian Eno at his most sublime"
- Aquarium Drunkard
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
The Four Sounds - Seven Steps Lament
2
The Four Sounds - Interim
3
The Four Sounds - Katrina
4
The Four Sounds - Up From Slavery
5
The Four Sounds - Wells Square
6
The Four Sounds - Don't Close Your Eyes
7
The Four Sounds - The Goema Dance
HARD-CARDBOARD SLEEVE + OBI 180g VINYL
Impossible-to-find gem from 1969 finally reissued in a deluxe edition.
ULTRA RARE South African Jazz from District Six with legendary musicians Clifford Moses, Richard Schilder, Basil Moses and Basil Coetzee.
True Jazz today is becoming a rare art whose existence depends not only on the Jazz-musician but also on the medium by means of which it is propagated. This album is the combined effort of musician and Trutone Record Company to add their contribution to the interest of the arts. The theme for this album is set in "District Six", the community which brought forth "The Four Sounds".
Basil Moses is perhaps most widely known, in the context of South African jazz history, as having recorded prolifically – including performing on seven or eight of Abdullah Ibrahim’s 1970s recordings. He also features on Sathima Bea Benjamin’s African Songbird (The Sun, GL 1839).
Guitarist Cliffie Moses, three years older than brother Basil, was also a professional musician and the two, along with Richard Schilder and Billy Bowers (aka Billie Dollie), formed the Four Sounds in the early 1960s. The group with Basil ‘Manenburg’ Coetzee and Roy Nolly recorded their debut album, Jazz from District Six, in 1969 for Trutone (TBLC 1).
In 1970 Basil, Cliffie, Roy Petersen and Monty Weber were all hired to tour the country as the core of Percy Sledge’s backing band for a seventeen-week sell-out tour of South and southern Africa. Percy Sledge described it as the “greatest tour of [his] career”.
Notes by Siemon Allen at Flatinternational”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Impossible-to-find gem from 1969 finally reissued in a deluxe edition.
ULTRA RARE South African Jazz from District Six with legendary musicians Clifford Moses, Richard Schilder, Basil Moses and Basil Coetzee.
True Jazz today is becoming a rare art whose existence depends not only on the Jazz-musician but also on the medium by means of which it is propagated. This album is the combined effort of musician and Trutone Record Company to add their contribution to the interest of the arts. The theme for this album is set in "District Six", the community which brought forth "The Four Sounds".
Basil Moses is perhaps most widely known, in the context of South African jazz history, as having recorded prolifically – including performing on seven or eight of Abdullah Ibrahim’s 1970s recordings. He also features on Sathima Bea Benjamin’s African Songbird (The Sun, GL 1839).
Guitarist Cliffie Moses, three years older than brother Basil, was also a professional musician and the two, along with Richard Schilder and Billy Bowers (aka Billie Dollie), formed the Four Sounds in the early 1960s. The group with Basil ‘Manenburg’ Coetzee and Roy Nolly recorded their debut album, Jazz from District Six, in 1969 for Trutone (TBLC 1).
In 1970 Basil, Cliffie, Roy Petersen and Monty Weber were all hired to tour the country as the core of Percy Sledge’s backing band for a seventeen-week sell-out tour of South and southern Africa. Percy Sledge described it as the “greatest tour of [his] career”.
Notes by Siemon Allen at Flatinternational”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Yasuaki Shimizu - Suiren
2
Yasuaki Shimizu - Kakashi
3
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
4
Yasuaki Shimizu - Kono Yo Ni Yomeri #1
5
Yasuaki Shimizu - Kono Yo Ni Yomeri #2
6
Yasuaki Shimizu - Yune Dewa
7
Yasuaki Shimizu - Umi No Ue Kara
8
Yasuaki Shimizu - Utsukushiki Tennen
Repress!
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Re-issued again, with new liner notes.
Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.
Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.
A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore