With J Jazz volume 4, the BBE J Jazz Bullet Train continues its journey traversing the expansive landscape of modern Japanese jazz. Volume 4 is the latest in the universally praised compilation series exploring the best, rarest and most innovative jazz to emerge from the Far East. Please take your seats for a first-class ticket to J Jazz central.
This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs.
J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.
With 7,000 words of extensive sleeve notes, J Jazz vol 4 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip plus a 4 page insert. The double CD features two bonus tracks not on the vinyl edition. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding three volumes that have set the bar so high.
J Jazz is curated for BBE Music by Tony Higgins and Mike Peden.
Tracklist LP:
1. Exchange – Takeo Moriyama
2. The Ground For Peace – Jiro Inagaki & His Soul Media
3. Chakkiri Bushi – Nobuo Hara and his Sharps & Flats, Hozan Yamamoto
4. Trial Road – Tomoki Takahashi
5. A Muddy Muffin – Masahiko Sato
6. Samba de Negrito – Takashi Mizuhashi & Herbie Hancock
7. Scramble – Hiromasa Suzuki
9. Prelude To The Afternoon Of A Faun – Nobuo Hara and His Sharps & Flats
10. Jones Street – Kiyoshi Sugimoto
11. By The Red Stream – Hiromasa Suzuki, Jiro Inagaki & Big Soul Media
12. Kaleidoscope (Edit) – Mickie Yoshino & Kazumi Watanabe
13. Ougi Denju-shiki – Toshiyuki Miyama and His New Herd
14. Toppu – Shigeharu Mukai
15. Mickey’s Samba – Mikio Masuda
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Germany
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This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs.
J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.
With 7,000 words of extensive sleeve notes, J Jazz vol 4 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip plus a 4 page insert. The double CD features two bonus tracks not on the vinyl edition. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding three volumes that have set the bar so high.
J Jazz is curated for BBE Music by Tony Higgins and Mike Peden.
Tracklist LP:
1. Exchange – Takeo Moriyama
2. The Ground For Peace – Jiro Inagaki & His Soul Media
3. Chakkiri Bushi – Nobuo Hara and his Sharps & Flats, Hozan Yamamoto
4. Trial Road – Tomoki Takahashi
5. A Muddy Muffin – Masahiko Sato
6. Samba de Negrito – Takashi Mizuhashi & Herbie Hancock
7. Scramble – Hiromasa Suzuki
9. Prelude To The Afternoon Of A Faun – Nobuo Hara and His Sharps & Flats
10. Jones Street – Kiyoshi Sugimoto
11. By The Red Stream – Hiromasa Suzuki, Jiro Inagaki & Big Soul Media
12. Kaleidoscope (Edit) – Mickie Yoshino & Kazumi Watanabe
13. Ougi Denju-shiki – Toshiyuki Miyama and His New Herd
14. Toppu – Shigeharu Mukai
15. Mickey’s Samba – Mikio Masuda
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from bbe
Impressive Collective & BBE Music announce 'Brighter The Days' – the 9th studio album by Omar - the world renowned UK soul star. This new album continues Omar's long-standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed 'The Man' album and continued with 'Love In Beats' and 'The Omar Anthology'.
Omar Lyefook MBE, singer, composer, and multi-instrumentalist, solidifies his legendary status with his latest album, Brighter The Days. Over three decades, he has been a defining force in modern Black music, crafting a sound that seamlessly blends soul, funk, jazz, salsa, dub, and hip-hop, with roots in classical music. As he puts it, “Each album is an evolution, if you will. But I’d like to think this is my magnum opus.”
A dynamic collection, Brighter The Days builds upon Omar’s distinctive style with fresh inspiration. His warm, unmistakable voice—tinged with the richness of his Caribbean heritage —is complemented by lush arrangements. Organic drums, bass, brass, keys, and guitars meet the mechanical edge of samples and beats, creating a soundscape that is both timeless and innovative. Sweeping strings, inspired by his early training in orchestral music, add grandeur. “There’s nothing quite like that feeling of hearing all those strings play together,” he says, explaining their recurring presence in his work.
As always, Omar has gathered a stellar line up of collaborators. British legends like Paul Weller, arranger Chris Cameron, rapper Giggs and guitarist Tony Remy join forces with American icons including singers India Arie, Ledisi, Eric Roberson and Raheem DeVaughn, organist Ronnie Foster, and rapper Jeru The Damaja. The result is music that is ambitious in conception and flawless in execution.
The electric styles and highlights include There’s Much Love In The World, a hopeful anthem celebrating unity, Research featuring Honey Larochelle, a sexy and funky dance floor heater, and This Thing Called Life, which captures the album’s essence of optimism amidst challenges. Omar explains, “It’s a specific amount of time we have on this earth, so why waste it arguing and fighting? There are so many more things that connect us as opposed to driving us apart.”
In Brighter The Days, Omar reminds us that music and life are about finding light in the darkness. “Music is what I live for, but so too are my children. Brighter The Days just means something better is coming for all of us.”
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Omar Lyefook MBE, singer, composer, and multi-instrumentalist, solidifies his legendary status with his latest album, Brighter The Days. Over three decades, he has been a defining force in modern Black music, crafting a sound that seamlessly blends soul, funk, jazz, salsa, dub, and hip-hop, with roots in classical music. As he puts it, “Each album is an evolution, if you will. But I’d like to think this is my magnum opus.”
A dynamic collection, Brighter The Days builds upon Omar’s distinctive style with fresh inspiration. His warm, unmistakable voice—tinged with the richness of his Caribbean heritage —is complemented by lush arrangements. Organic drums, bass, brass, keys, and guitars meet the mechanical edge of samples and beats, creating a soundscape that is both timeless and innovative. Sweeping strings, inspired by his early training in orchestral music, add grandeur. “There’s nothing quite like that feeling of hearing all those strings play together,” he says, explaining their recurring presence in his work.
As always, Omar has gathered a stellar line up of collaborators. British legends like Paul Weller, arranger Chris Cameron, rapper Giggs and guitarist Tony Remy join forces with American icons including singers India Arie, Ledisi, Eric Roberson and Raheem DeVaughn, organist Ronnie Foster, and rapper Jeru The Damaja. The result is music that is ambitious in conception and flawless in execution.
The electric styles and highlights include There’s Much Love In The World, a hopeful anthem celebrating unity, Research featuring Honey Larochelle, a sexy and funky dance floor heater, and This Thing Called Life, which captures the album’s essence of optimism amidst challenges. Omar explains, “It’s a specific amount of time we have on this earth, so why waste it arguing and fighting? There are so many more things that connect us as opposed to driving us apart.”
In Brighter The Days, Omar reminds us that music and life are about finding light in the darkness. “Music is what I live for, but so too are my children. Brighter The Days just means something better is coming for all of us.”
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
In the last decade, global audiences have increasingly explored Japanese music genres like city pop, rock, and reggae. Central to this resurgence has been BBE Music, known for its acclaimed releases on the J-Jazz and J-Jazz Masterclass Series. Guided by Ken Hidaka in Tokyo, BBE Music has now unearthed a treasure from an unexplored niche: the debut album of Japan's first authentic salsa band, Orquesta Del Sol, titled "Rainbow Love."
The roots of salsa in Japan trace back to Latin music pioneers such as Tadaaki Misago's Tokyo Cuban Boys, who played mambo and rumba post-World War II. However, salsa truly took hold in Japan in the 1970s, catalyzed by the Fania All-Stars' 1977 tour. Among those captivated was percussionist Masahito "Pecker" Hashida. Known for his reggae contributions through albums like "Pecker Power" and "Rasta Instantané Avec L'Effroyable Pecker," Pecker’s influence expanded after experiencing the vibrant salsa scene in New York City in 1977. Upon his return to Japan, he spearheaded the creation of Orquesta Del Sol, marking the inception of the salsa genre in Japan.
Orquesta Del Sol's popularity soared with performances that encompassed both covers and original pieces. The group’s rise was buoyed by Japanese session drummer Shuichi “Ponta” Murakami, whose participation in 1980 elevated their profile and led to a contract with Discomate, an arm of TBS Group. This label also featured artists like Toshiko Akiyoshi and Junko Yagami.
The band’s debut album, "Rainbow Love," was co-produced by Ponta and released in 1981. Apart from a cover of "Rumbambola" by Noro Morales, the album features original compositions performed in Japanese, Spanish, and English. The album cover, illustrated by renowned graphic artist and salsa enthusiast Yosuke Kawamura, mirrored the band’s pioneering spirit.
Masashi Takahashi, a noted Japanese Latin music specialist, observes in the newly commissioned liner notes that Orquesta Del Sol reflects shades of New Music, a genre linked to city pop. Takahashi notes that the musicians, deeply embedded in Tokyo’s vibrant studio scene, naturally gravitated towards creating a uniquely Japanese salsa sound. This sound, heavily inspired by Nuyorican salsa, has endured over the decades, warranting a worldwide reissue.
The reissue of "Rainbow Love" marks its first worldwide release on vinyl and digital formats, supplemented by seven bonus tracks previously only available on a CD reissue named "Legend Vol. 1" from the band's label, Uno Music, in 2000.
The band recorded these tracks some time after the release of their second album, Harajuku Live in the early 80s when they were offered album deals from many record companies. Four of the tracks were covers of songs of some of the favorite salsa artists of the band members that they performed at the time when they first started.
Juan Pachanga is a cover of Fania All-Stars included in the album Rhythm Machine, Campanero is a cover of José Mangual Jr. included in the album Tribute To Chano Pozo, Yo Soy La Rumba is a cover of Machito & His Orchestra included in their album Yo Soy La Rumba! and Duerme is a cover of the band Libre included in the album Con Salsa..Con Ritmo Vol. 2- Tiene Calidad.
All tracks have been remastered, with the original Japanese liner notes now available in English and accompanied by Takahashi's new insights.
The timing of this release dovetails with the growing global interest in historic Japanese music, spotlighting the origins of salsa in Japan. Orquesta Del Sol, whose former members later formed the Grammy-nominated group Orquesta De La Luz, have continued to influence the genre significantly. Their debut album remains a cornerstone, inviting new listeners to experience the innovative fusion of Latin sounds nurtured in Japan.
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 roots of salsa in Japan trace back to Latin music pioneers such as Tadaaki Misago's Tokyo Cuban Boys, who played mambo and rumba post-World War II. However, salsa truly took hold in Japan in the 1970s, catalyzed by the Fania All-Stars' 1977 tour. Among those captivated was percussionist Masahito "Pecker" Hashida. Known for his reggae contributions through albums like "Pecker Power" and "Rasta Instantané Avec L'Effroyable Pecker," Pecker’s influence expanded after experiencing the vibrant salsa scene in New York City in 1977. Upon his return to Japan, he spearheaded the creation of Orquesta Del Sol, marking the inception of the salsa genre in Japan.
Orquesta Del Sol's popularity soared with performances that encompassed both covers and original pieces. The group’s rise was buoyed by Japanese session drummer Shuichi “Ponta” Murakami, whose participation in 1980 elevated their profile and led to a contract with Discomate, an arm of TBS Group. This label also featured artists like Toshiko Akiyoshi and Junko Yagami.
The band’s debut album, "Rainbow Love," was co-produced by Ponta and released in 1981. Apart from a cover of "Rumbambola" by Noro Morales, the album features original compositions performed in Japanese, Spanish, and English. The album cover, illustrated by renowned graphic artist and salsa enthusiast Yosuke Kawamura, mirrored the band’s pioneering spirit.
Masashi Takahashi, a noted Japanese Latin music specialist, observes in the newly commissioned liner notes that Orquesta Del Sol reflects shades of New Music, a genre linked to city pop. Takahashi notes that the musicians, deeply embedded in Tokyo’s vibrant studio scene, naturally gravitated towards creating a uniquely Japanese salsa sound. This sound, heavily inspired by Nuyorican salsa, has endured over the decades, warranting a worldwide reissue.
The reissue of "Rainbow Love" marks its first worldwide release on vinyl and digital formats, supplemented by seven bonus tracks previously only available on a CD reissue named "Legend Vol. 1" from the band's label, Uno Music, in 2000.
The band recorded these tracks some time after the release of their second album, Harajuku Live in the early 80s when they were offered album deals from many record companies. Four of the tracks were covers of songs of some of the favorite salsa artists of the band members that they performed at the time when they first started.
Juan Pachanga is a cover of Fania All-Stars included in the album Rhythm Machine, Campanero is a cover of José Mangual Jr. included in the album Tribute To Chano Pozo, Yo Soy La Rumba is a cover of Machito & His Orchestra included in their album Yo Soy La Rumba! and Duerme is a cover of the band Libre included in the album Con Salsa..Con Ritmo Vol. 2- Tiene Calidad.
All tracks have been remastered, with the original Japanese liner notes now available in English and accompanied by Takahashi's new insights.
The timing of this release dovetails with the growing global interest in historic Japanese music, spotlighting the origins of salsa in Japan. Orquesta Del Sol, whose former members later formed the Grammy-nominated group Orquesta De La Luz, have continued to influence the genre significantly. Their debut album remains a cornerstone, inviting new listeners to experience the innovative fusion of Latin sounds nurtured in Japan.
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
past present (tone poems across time)' is Mark de Clive-Lowe's exquisite new solo album and his debut for Greg Boraman's Impressive Collective label in partnership with BBE Music. Previously the pair released the Pharoah Sanders tribute album 'Freedom', and the equally lauded 'Hotel San Claudio' in collaboration with Shigeto & Melanie Charles.
A deeply personal sonic exploration by Mark, "past present" is a reflection on family, heritage, and healing which was created in tandem with retracing his late father’s journey across Japan 70 years ago. The project is a collection of ambient jazz, emotional cinematic soundscapes that weave analog synths with field recordings from Japanese sacred sites and nature locations.
'past present' partially came into existence thanks to the perseverance of producer, percussionist and Mark’s friend Carlos Niño, who after experiencing Mark's multi-layered motifs in the studio and in live contexts over many years explains, "I kept hearing him make an album like this, I kept telling him that he needed to, and that it would be his best album yet. Subtle, poetic, solo, texturally rhythmic, expressive, full of rippling layers, and arrangements representing such profound thoughts, feelings, relationships, and memories".
Mark also took on board Carlos' recommendation of recording the bulk of "past present" at Ken Barrientos’ analog synth studio, 'The Breath' in Pomona, California - where he utilized no less than 22 different keyboards to create the ethereal and engaging soundscapes across all 11 tracks, also intertwining his own field recordings made during a long, explorative stay in Japan.
Being such an individual and personal concept, it was only correct that Mark wrote the extensive album liner notes, to fully illustrate the decades-long backstory to this stunning collection. Mark completes the album's presentation using archive images from his family's private photo collection - an entire process he likens to time travel and signs off to the listener by stating that he hopes "it takes you on your own journey of imagination and reflection, leading to unexpected places, just as it has for me”.
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 deeply personal sonic exploration by Mark, "past present" is a reflection on family, heritage, and healing which was created in tandem with retracing his late father’s journey across Japan 70 years ago. The project is a collection of ambient jazz, emotional cinematic soundscapes that weave analog synths with field recordings from Japanese sacred sites and nature locations.
'past present' partially came into existence thanks to the perseverance of producer, percussionist and Mark’s friend Carlos Niño, who after experiencing Mark's multi-layered motifs in the studio and in live contexts over many years explains, "I kept hearing him make an album like this, I kept telling him that he needed to, and that it would be his best album yet. Subtle, poetic, solo, texturally rhythmic, expressive, full of rippling layers, and arrangements representing such profound thoughts, feelings, relationships, and memories".
Mark also took on board Carlos' recommendation of recording the bulk of "past present" at Ken Barrientos’ analog synth studio, 'The Breath' in Pomona, California - where he utilized no less than 22 different keyboards to create the ethereal and engaging soundscapes across all 11 tracks, also intertwining his own field recordings made during a long, explorative stay in Japan.
Being such an individual and personal concept, it was only correct that Mark wrote the extensive album liner notes, to fully illustrate the decades-long backstory to this stunning collection. Mark completes the album's presentation using archive images from his family's private photo collection - an entire process he likens to time travel and signs off to the listener by stating that he hopes "it takes you on your own journey of imagination and reflection, leading to unexpected places, just as it has for me”.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
'Altera Vita' is the first studio album by World renowned multi-award winning artists Tony Kofi (tenor saxophone) and Alina Bzhezhinska (harp) as a duo. The album is saxophone and harp in perfect harmony with Tony and Alina also providing the bulk of the percussion to accompany their recordings. Tony Kofi is widely recognized as one of the leading Jazz saxophonists in the UK and his duties include regularly lending his skills to legendary group Cymande for their live performances. Alina has been heralded as the "New Sound of Europe'' and the duo’s innovative and refreshing approach to recording is apparent on this album. The namesake and inspiration for this album; ‘Altera Vita’ (2023) was named in Downbeat’s jazz albums of 2023, which is very rare for a single release!
'Altera Vita' mirrors the human experience, from conception through to the inevitable end or new beginning. Throughout the journey the appreciation of our environments is paramount, 'Altera Vita' guides us through an intensified refocus on our senses through the medium of sound.
This homage to the ethereal is dedicated to the influential Pharoah Sanders —a lynchpin in the creative and personal lives of Tony & Alina. Sharing a platform during the 2017 EFG London Jazz Festival at the Barbican in a concert honouring Alice & John Coltrane, Pharoah's influence was profound. Riding the wave of inspiration following Pharoah's passing, Tony channeled his gratitude into the creation of 'Altera Vita (for Pharoah Sanders)' (single). With Alina's harmonious harp in counterpoint, a serene musical dialogue was born, echoing the grandeur of Pharoah's legacy. This track released in 2023 to critical acclaim was a major catalyst for the creation of 'Altera Vita' as an album.
'Altera Vita', the album, is a spontaneous response to a world in dire need for a reset. In a reality where billions find themselves hostage to the ‘doom-scroll’, where topics are disproportionately centred on the darker shades of our existence, and where our attempts to foster connection have only yielded deeper factionalism, 'Altera Vita' surfaces as an aural oasis. An audioscape that personifies tranquility, spirituality and peace — abstract concepts essential to the restructuring of our collective consciousness. 'Altera Vita' was designed by Tony & Alina to provide the listener with an opportunity to sit still and be aware.
The heart of 'Altera Vita' took shape during a busy summer schedule over the span of two electrifying days at Fish Factory Studios, London, The synergy between Tony & Alina underpinned these rapid-fire recording sessions. The ebbs and flows, the improvisational dance of saxophone and harp intermingled with the percussive beats also from the pair, with the phenomenal Muriel Grossmann contributing tanpura from her Ibiza base – all demonstrated the effortless energy harvest of a creative partnership seasoned over years of performance and practice. Their achievement is a testament to music as our communal solace and our binder.
Encapsulating the interplay of West African and Eastern European sonic traditions, notably expressed through jazz, Tony Kofi and Alina Bzhezhinska become symbols of our shared human fabric —a powerful reminder that our commonalities vastly overshadow our differences.
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
'Altera Vita' mirrors the human experience, from conception through to the inevitable end or new beginning. Throughout the journey the appreciation of our environments is paramount, 'Altera Vita' guides us through an intensified refocus on our senses through the medium of sound.
This homage to the ethereal is dedicated to the influential Pharoah Sanders —a lynchpin in the creative and personal lives of Tony & Alina. Sharing a platform during the 2017 EFG London Jazz Festival at the Barbican in a concert honouring Alice & John Coltrane, Pharoah's influence was profound. Riding the wave of inspiration following Pharoah's passing, Tony channeled his gratitude into the creation of 'Altera Vita (for Pharoah Sanders)' (single). With Alina's harmonious harp in counterpoint, a serene musical dialogue was born, echoing the grandeur of Pharoah's legacy. This track released in 2023 to critical acclaim was a major catalyst for the creation of 'Altera Vita' as an album.
'Altera Vita', the album, is a spontaneous response to a world in dire need for a reset. In a reality where billions find themselves hostage to the ‘doom-scroll’, where topics are disproportionately centred on the darker shades of our existence, and where our attempts to foster connection have only yielded deeper factionalism, 'Altera Vita' surfaces as an aural oasis. An audioscape that personifies tranquility, spirituality and peace — abstract concepts essential to the restructuring of our collective consciousness. 'Altera Vita' was designed by Tony & Alina to provide the listener with an opportunity to sit still and be aware.
The heart of 'Altera Vita' took shape during a busy summer schedule over the span of two electrifying days at Fish Factory Studios, London, The synergy between Tony & Alina underpinned these rapid-fire recording sessions. The ebbs and flows, the improvisational dance of saxophone and harp intermingled with the percussive beats also from the pair, with the phenomenal Muriel Grossmann contributing tanpura from her Ibiza base – all demonstrated the effortless energy harvest of a creative partnership seasoned over years of performance and practice. Their achievement is a testament to music as our communal solace and our binder.
Encapsulating the interplay of West African and Eastern European sonic traditions, notably expressed through jazz, Tony Kofi and Alina Bzhezhinska become symbols of our shared human fabric —a powerful reminder that our commonalities vastly overshadow our differences.
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 couple of years back, UK-based House DJ Jerry Frempong’s wife Katie was doing a spring clean at the family home. At the bottom of the garden, amongst a pile of rusty garden tools, she discovered a couple of mysterious bin-bags. She was about to assign them to the skip with everything else, but a sixth sense persuaded her to check the contents. It was a huge pile of rare soul, funk, disco, boogie and- yes – Ghana Highlife records. Katie brought this to the attention of Jerry, who immediately understood the significance of the treasure trove.
Jerry’s Father, Anthony Roberts Frempong, who had passed away in 2011, was the founder of one of the most significant Ghanaian record and music companies anywhere in the world: Asona Records. Asona was founded in the mid-80s, with little fanfare, in Peckham, South East London. It was a label with a firm mission: Burger Highlife. No, not a swanky fast-food chain, nor a 5-star German hotel chain, but a record label devoted to the new African dance music genre that was sweeping Europe, North America and West Africa at the time – Electric Highlife.
BBE Music owner Pete Adarkwah caught wind of the serendipitous discovery and approached Jerry to discuss the reissue of this historic catalogue. Before long a catalogue deal was hammered out: and here you have it!
BURGER HIGHLIFE AND THE ‘DIASPORA LOOP’.
So: why Burger? Like many music stories, it started with money- or the shortage thereof. Classic Ghana Highlife has a star-studded history dating back to the early 1920s, with 20-plus piece orchestras playing nightly at hotels and ballrooms across the country. By the 60s, American soul, funk and pop records had become available in small quantities, and their electric-based sound started to inspire Ghanaian musicians of every stripe. As with the history of Afro Cuban music, here was African music doing its transatlantic ‘loop’- African rhythms go across the sea, inspire others, and return to Africa some years later, to be rebuilt and tweaked anew by African musicians.
This came to wide general public attention on March 6 1971, when a group of African American and Ghanaian musicians came together for a memorable concert in Accra’s Black Star Square. Tina Turner, Wilson Pickett, Carlos Santana and other African American artists performed head-to-head with the likes of Ghana jazz pioneer Guy Warren and funky highlife Basa Basa Soundz co-founder Amoah Azangeo.
Soon, Ghana Highlife spread across Europe and North America. But the honeymoon would soon be cut short. By the end of the 70s, Jerry Rawlings’ military government, desperate for funds in a sinking economy, imposed a 160% tax on imported musical instruments and equipment. The inevitable result was that artists and bands couldn’t make ends meet and had to go elsewhere: in this case, especially to North America, the UK- and Germany.
It’s generally accepted that the first major funky electronic disco/boogie Highlife tune was George Darko’s 1983 Hamburg-recorded Akoo Te Brofo – so, Burger Highlife – or sometimes, Borga Highlife. But the artists included in BBE’s Asona reissue series together span a panorama of Ghana’s music history, right back to the late 60s. It may be called Burger, but it’s also classic Highlife seen through a different lens: the lens of the Diaspora.
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WAS - Word and Sound Medien GmbH
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Germany
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Jerry’s Father, Anthony Roberts Frempong, who had passed away in 2011, was the founder of one of the most significant Ghanaian record and music companies anywhere in the world: Asona Records. Asona was founded in the mid-80s, with little fanfare, in Peckham, South East London. It was a label with a firm mission: Burger Highlife. No, not a swanky fast-food chain, nor a 5-star German hotel chain, but a record label devoted to the new African dance music genre that was sweeping Europe, North America and West Africa at the time – Electric Highlife.
BBE Music owner Pete Adarkwah caught wind of the serendipitous discovery and approached Jerry to discuss the reissue of this historic catalogue. Before long a catalogue deal was hammered out: and here you have it!
BURGER HIGHLIFE AND THE ‘DIASPORA LOOP’.
So: why Burger? Like many music stories, it started with money- or the shortage thereof. Classic Ghana Highlife has a star-studded history dating back to the early 1920s, with 20-plus piece orchestras playing nightly at hotels and ballrooms across the country. By the 60s, American soul, funk and pop records had become available in small quantities, and their electric-based sound started to inspire Ghanaian musicians of every stripe. As with the history of Afro Cuban music, here was African music doing its transatlantic ‘loop’- African rhythms go across the sea, inspire others, and return to Africa some years later, to be rebuilt and tweaked anew by African musicians.
This came to wide general public attention on March 6 1971, when a group of African American and Ghanaian musicians came together for a memorable concert in Accra’s Black Star Square. Tina Turner, Wilson Pickett, Carlos Santana and other African American artists performed head-to-head with the likes of Ghana jazz pioneer Guy Warren and funky highlife Basa Basa Soundz co-founder Amoah Azangeo.
Soon, Ghana Highlife spread across Europe and North America. But the honeymoon would soon be cut short. By the end of the 70s, Jerry Rawlings’ military government, desperate for funds in a sinking economy, imposed a 160% tax on imported musical instruments and equipment. The inevitable result was that artists and bands couldn’t make ends meet and had to go elsewhere: in this case, especially to North America, the UK- and Germany.
It’s generally accepted that the first major funky electronic disco/boogie Highlife tune was George Darko’s 1983 Hamburg-recorded Akoo Te Brofo – so, Burger Highlife – or sometimes, Borga Highlife. But the artists included in BBE’s Asona reissue series together span a panorama of Ghana’s music history, right back to the late 60s. It may be called Burger, but it’s also classic Highlife seen through a different lens: the lens of the Diaspora.
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Yet another album of musical excellence compiled by If Music's Jean-Claude for the excellent and massively collectible 'You Need This' series. This release marks the 4th volume in the A Journey Into Deep Jazz portfolio in the If Music cannon released on BBE and will be available on a double vinyl LP and as a digital release.
Deep Jazz volume 4 continues to meet the high quality bar set by the previous releases in the series and the If Music presents... catalogue. Its global diversity of artists is represented in the tracklisting. This nine track offering ranges from the slow, lush Bobby Hutchersonesque, never repressed 'Process of a Cloud' from Japanese Drummer George Hirota to Oakland artist Phavia Kujichagulia's Congolese themed, black consciousness Fancy Footwork and the mighty combination of Ginger Baker and Ransome Kuti on their co-written N'Kon Kini N'Kon N'Kon, a chunky, Lo-Slung Afro-Beat celebration of Fela Kuti's Kalakuta Republic.
Jean-Claude's excellent track record of creating and curating compilation albums and rediscovering rare gems and private presses for re-issue follows a philosophy of cross- genre music appreciation that can be traced even further back than to his time as one half of the innovative, genre bending, DJ and production duo The Amalgamation of Soundz. Jean- Claude has been a mainstay of London's Black Music scene for some four decades with his record shop, his shows on NTS and Soho Radio, his excellent 'In Conversation with...' series of chat shows, his Djing and curation of event stages at Across the Tracks Festival and, of course, his excellent compilations.
Deep Jazz volume 4 will be released on BBE Music as a digital and a double vinyl LP and will add to any serious collector and music head's record racks.
1. Eero Koivistoinen, UMO Helsinki Jazz Orchestra - Kaamos
2. Ginger Baker - N'Kon Kini N'Kon N'Kon 03:58
3. Eko Kuango - Na Mawaso
4. Lonnie Smith - All In My Mind
5. Phavia Kujichagulia - Fancy Footwork
6. Kan Digor - Croonardise
7. Five Times Six - Five Times Six
8. Sathima Bea Benjamin - Africa
9. George Hirota - Process of Cloud
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Deep Jazz volume 4 continues to meet the high quality bar set by the previous releases in the series and the If Music presents... catalogue. Its global diversity of artists is represented in the tracklisting. This nine track offering ranges from the slow, lush Bobby Hutchersonesque, never repressed 'Process of a Cloud' from Japanese Drummer George Hirota to Oakland artist Phavia Kujichagulia's Congolese themed, black consciousness Fancy Footwork and the mighty combination of Ginger Baker and Ransome Kuti on their co-written N'Kon Kini N'Kon N'Kon, a chunky, Lo-Slung Afro-Beat celebration of Fela Kuti's Kalakuta Republic.
Jean-Claude's excellent track record of creating and curating compilation albums and rediscovering rare gems and private presses for re-issue follows a philosophy of cross- genre music appreciation that can be traced even further back than to his time as one half of the innovative, genre bending, DJ and production duo The Amalgamation of Soundz. Jean- Claude has been a mainstay of London's Black Music scene for some four decades with his record shop, his shows on NTS and Soho Radio, his excellent 'In Conversation with...' series of chat shows, his Djing and curation of event stages at Across the Tracks Festival and, of course, his excellent compilations.
Deep Jazz volume 4 will be released on BBE Music as a digital and a double vinyl LP and will add to any serious collector and music head's record racks.
1. Eero Koivistoinen, UMO Helsinki Jazz Orchestra - Kaamos
2. Ginger Baker - N'Kon Kini N'Kon N'Kon 03:58
3. Eko Kuango - Na Mawaso
4. Lonnie Smith - All In My Mind
5. Phavia Kujichagulia - Fancy Footwork
6. Kan Digor - Croonardise
7. Five Times Six - Five Times Six
8. Sathima Bea Benjamin - Africa
9. George Hirota - Process of Cloud
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The late ‘70s were such a creatively fertile period for Roy Ayers and his associates that many of his finest recordings never made it onto the official releases. Ayers kept the master tapes in storage until Peter Adarkwah of BBE Records in London got wind of them, at which point they were collected on the aptly named Virgin Ubiquity. The songs feature all the different permutations of Roy Ayers’ band, which maintained a core philosophy through shifting rhythm sections and vocalists. The underappreciated Merry Clayton brings a husky edge to “Oh What A Lonely Feeling,” “I Really Love You” and “What’s the T?” her earthy voice contrasting with the liquid textures of Ayers’ arrangement. Carla Vaughn was another of Ayers’ singing vixens, her sensual presence blending seamlessly into “Boogie Down,” “Mystic Voyage” and “Together Forever.” Although performances here rich with detail, it is a pleasure to hear “I Just Wanna Give It Up,” an uncharacteristically spare arrangement that allows us to study the inner dynamics of the Ayers machine.
“Since his 1963 debut, Ayers has worked with everyone from Herbie Mann and Guru to Fela Kuti and Erykah Badu, and his shimmering sound has foreshadowed acid jazz and fueled hip-hop, as well as gracing contemporary R&B.; Though Virgin Ubiquity is billed as a collection of thirteen never-before-released tracks, it’s far more than a mere scrap heap of outtakes, as each of its “from the vault” cuts luxuriate on the comfortable musical bed that Ayers mastered from ’76 through ’81.” – Pitchfork Review
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“Since his 1963 debut, Ayers has worked with everyone from Herbie Mann and Guru to Fela Kuti and Erykah Badu, and his shimmering sound has foreshadowed acid jazz and fueled hip-hop, as well as gracing contemporary R&B.; Though Virgin Ubiquity is billed as a collection of thirteen never-before-released tracks, it’s far more than a mere scrap heap of outtakes, as each of its “from the vault” cuts luxuriate on the comfortable musical bed that Ayers mastered from ’76 through ’81.” – Pitchfork Review
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Paul Hillery has once again handpicked a must-have compilation of little-known and high- quality tracks for his ongoing Folk Funk and Trippy Troubadours series. This third volume, the first on BBE Music, is an essential companion to Paul's Children Of The Sun trilogy, also released on BBE Music.
Featuring an array of funky folk, jazzy AOR grooves, fuzzed-out lo-fi dub, DIY folktronica, private-press grails and previously unreleased material, Folk Funk and Trippy Troubadours Volume 3 has 22 tracks over triple vinyl and comes with extensive sleeve notes. Includes such gems as the ethereal sound of Sheila Chandra, the euphoric groove of Tim Green, the infectious bass-heavy folk of Dave Smith & Judy Dinning, dreamy Alaskan soft-rock from Soapstone and a West Coast call to enlightened celebration by Rhythm & Bliss. This compilation could soundtrack a cross-continental journey with the music lover sat on a Greyhound bus with earphones on and a battered copy of Kerouac's On The Road.
Paul Hillery has curated releases by Will & James Ragar, Forest, and Monica Rypma for BBE Music. Described as an 'enlightened heathen' Paul has shared music via his highly influential Folk Funk and Trippy Troubadours persona on social media for over a decade, cultivating an unerring knack for uncovering rare and lost sounds.
Released on triple vinyl LP, CD and digital - Folk Funk and Trippy Troubadours Volume 3 is a must-have compilation.
1. Sheila Chandra - One 04:36
2. Tim Green - Got More Love
3. Stephen Whynott - What Have You Seen
4. February Montaine - Seven Letters
5. Gil De Ray - Something About Nothing
6. Robin Frederick - Night Blooming Thing
7. Bobbi Keith - Give Me Time
8. Jeff Putterman - Beside You
9. Kirk Edwards - Provincetown
10. Soapstone - You Brighten Up My Day
11. Jerry Thomas - Love Strain
12. Janelle Richey - Rainy Day Dreams
13. Dave Smith, Judy Dinning - Sail Far
14. Dwight Druick - Joshua
15. Franciscus Henri - Friendship
16. Tom Wasinger - Montse’gur
17. Charmer - Movin' On
18. Dennis Siren - Take It If You Try
19. Rhythm & Bliss - Love Is The Sun
20. Robert Carlton - Going All The Way
21. Roger Ekman - Motivationen Måste Vara Stor 02:38
22. Heaven & Earth - Feel The Spirit
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Featuring an array of funky folk, jazzy AOR grooves, fuzzed-out lo-fi dub, DIY folktronica, private-press grails and previously unreleased material, Folk Funk and Trippy Troubadours Volume 3 has 22 tracks over triple vinyl and comes with extensive sleeve notes. Includes such gems as the ethereal sound of Sheila Chandra, the euphoric groove of Tim Green, the infectious bass-heavy folk of Dave Smith & Judy Dinning, dreamy Alaskan soft-rock from Soapstone and a West Coast call to enlightened celebration by Rhythm & Bliss. This compilation could soundtrack a cross-continental journey with the music lover sat on a Greyhound bus with earphones on and a battered copy of Kerouac's On The Road.
Paul Hillery has curated releases by Will & James Ragar, Forest, and Monica Rypma for BBE Music. Described as an 'enlightened heathen' Paul has shared music via his highly influential Folk Funk and Trippy Troubadours persona on social media for over a decade, cultivating an unerring knack for uncovering rare and lost sounds.
Released on triple vinyl LP, CD and digital - Folk Funk and Trippy Troubadours Volume 3 is a must-have compilation.
1. Sheila Chandra - One 04:36
2. Tim Green - Got More Love
3. Stephen Whynott - What Have You Seen
4. February Montaine - Seven Letters
5. Gil De Ray - Something About Nothing
6. Robin Frederick - Night Blooming Thing
7. Bobbi Keith - Give Me Time
8. Jeff Putterman - Beside You
9. Kirk Edwards - Provincetown
10. Soapstone - You Brighten Up My Day
11. Jerry Thomas - Love Strain
12. Janelle Richey - Rainy Day Dreams
13. Dave Smith, Judy Dinning - Sail Far
14. Dwight Druick - Joshua
15. Franciscus Henri - Friendship
16. Tom Wasinger - Montse’gur
17. Charmer - Movin' On
18. Dennis Siren - Take It If You Try
19. Rhythm & Bliss - Love Is The Sun
20. Robert Carlton - Going All The Way
21. Roger Ekman - Motivationen Måste Vara Stor 02:38
22. Heaven & Earth - Feel The Spirit
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1
Ginger Johnson and His African Messenger - I Jool Omo
2
Ginger Johnson and His African Messenger - Adura
3
Ginger Johnson and His African Messenger - Witchdoctor
4
Ginger Johnson and His African Messenger - Ire
5
Ginger Johnson and His African Messenger - Talking Drum
6
Ginger Johnson and His African Messenger - Lord Morocco
7
Ginger Johnson and His African Messenger - A You Momma
8
Ginger Johnson and His African Messenger - Watusi
9
Ginger Johnson and His African Messenger - Alege
10
Ginger Johnson and His African Messenger - Hi Life
11
Ginger Johnson and His African Messenger - Witchdoctor (Afro Rock)
12
Ginger Johnson and His African Messenger - Nawa
The story of percussionist, band leader, teacher, club owner Ginger Johnson and his African Party album is a fascinating tale that is only now being recognised for its significance. Born George Folurunsho Johnson in Nigeria,1916, of a Yoruba background, by the late 1940s Ginger was living in London and made an immediate impact playing live and recording with British jazz legends Ronnie Scott, drummers Phil Seaman and Tony Crombie, pianist Victor Feldman, and Kenny Graham’s Afro-Cubists.
In the 1950s he was the featured percussionist for the Edmundo Ros Orchestra, and also released several of his own 78s and 45s for Melodisc which were among the first examples of African music recorded and released in Britain. From his base in Pimlico, Ginger became the lynchpin of the African and West Indian expat musical community, including being mentor to a young Fela Kuti when he first came to London in 1957. By the mid-1960s Ginger was the highest profile Afro Cuban percussionist in Europe, with the ‘talking drum’ being his speciality, this led him to feature on all styles of recording sessions, from pop to jazz, also appearing in films, children’s television shows and live at The Royal Variety Performance and he was also instrumental in helping establish and expand the Notting Hill Carnival.
In March 1967 Ginger and his group entered Sound Techniques Studio, in Chelsea, to record the African Party album. The multi-layered drum patterns combined with jazz horn lines and vocals sung in the Yoruba dialect, the recordings were unlike anything else of the time and still sparkle with energy and vitality that remains undiminished almost 60 years later. The album is often cited as the foundation of Afrobeat – and his African Messengers group functioned as the finishing school for highly renowned musicians like Michael “Bami” Rose, as well as members of Osibisa and Cymande.
Ginger and his group continued to blaze a genre defying trail through contemporary music – recording and playing live with the likes of Art Blakey, with psychedelic rock outfits Pink Floyd and Soft Machine at the International Times 14 Hour Technicolour Dream – and most famously with The Rolling Stones in Hyde Park, in front of a crowd estimated to be well over 250,000.
Besides the 50’s Melodisc recordings and African Party album, it was thought that there were few other recordings, however in 2018 Uchenna Ikonne, a renowned African music collector discovered one battered original copy of a 45 single, released in the early 70s on the ‘Afrodesia’ label. These two bonus tracks have been given the best audio restoration possible and are included on this expanded, double vinyl LP version of ‘African Party’, providing a wider perspective on this significant musician’s career.
Some who were already aware of Johnson’s vital influence include:
– Mike Rose, Steve Scipio and Patrick Patterson of Cymande who recall playing with Johnson “was a unique experience, always enjoyable and always uplifting”.
– The late Afrobeat drum legend Tony Allen said “Ginger was the pioneer, the trailblazer for all of us, I loved everything he did, even before I met him’.
– DJ Louie Vega; “Masters At Work, Nuyorican Soul and Elements Of Life have all been inspired by his work; it is time for the world to see how the music is timeless”.
– Writer / musician David Toop; “Ginger Johnson was one of the great forgotten in British African music, but in the 60s, it was essential in jazz, R & B and especially the psyche scene.
He added a festive atmosphere at all events to which he attended, reminding his audience of his African roots“.
This deluxe version of African Party sheds further light on the trailblazing life and career of this pivotal yet underappreciated figure.
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In the 1950s he was the featured percussionist for the Edmundo Ros Orchestra, and also released several of his own 78s and 45s for Melodisc which were among the first examples of African music recorded and released in Britain. From his base in Pimlico, Ginger became the lynchpin of the African and West Indian expat musical community, including being mentor to a young Fela Kuti when he first came to London in 1957. By the mid-1960s Ginger was the highest profile Afro Cuban percussionist in Europe, with the ‘talking drum’ being his speciality, this led him to feature on all styles of recording sessions, from pop to jazz, also appearing in films, children’s television shows and live at The Royal Variety Performance and he was also instrumental in helping establish and expand the Notting Hill Carnival.
In March 1967 Ginger and his group entered Sound Techniques Studio, in Chelsea, to record the African Party album. The multi-layered drum patterns combined with jazz horn lines and vocals sung in the Yoruba dialect, the recordings were unlike anything else of the time and still sparkle with energy and vitality that remains undiminished almost 60 years later. The album is often cited as the foundation of Afrobeat – and his African Messengers group functioned as the finishing school for highly renowned musicians like Michael “Bami” Rose, as well as members of Osibisa and Cymande.
Ginger and his group continued to blaze a genre defying trail through contemporary music – recording and playing live with the likes of Art Blakey, with psychedelic rock outfits Pink Floyd and Soft Machine at the International Times 14 Hour Technicolour Dream – and most famously with The Rolling Stones in Hyde Park, in front of a crowd estimated to be well over 250,000.
Besides the 50’s Melodisc recordings and African Party album, it was thought that there were few other recordings, however in 2018 Uchenna Ikonne, a renowned African music collector discovered one battered original copy of a 45 single, released in the early 70s on the ‘Afrodesia’ label. These two bonus tracks have been given the best audio restoration possible and are included on this expanded, double vinyl LP version of ‘African Party’, providing a wider perspective on this significant musician’s career.
Some who were already aware of Johnson’s vital influence include:
– Mike Rose, Steve Scipio and Patrick Patterson of Cymande who recall playing with Johnson “was a unique experience, always enjoyable and always uplifting”.
– The late Afrobeat drum legend Tony Allen said “Ginger was the pioneer, the trailblazer for all of us, I loved everything he did, even before I met him’.
– DJ Louie Vega; “Masters At Work, Nuyorican Soul and Elements Of Life have all been inspired by his work; it is time for the world to see how the music is timeless”.
– Writer / musician David Toop; “Ginger Johnson was one of the great forgotten in British African music, but in the 60s, it was essential in jazz, R & B and especially the psyche scene.
He added a festive atmosphere at all events to which he attended, reminding his audience of his African roots“.
This deluxe version of African Party sheds further light on the trailblazing life and career of this pivotal yet underappreciated figure.
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1
Omar - Lovey Dovey
2
Omar - This Thing Called Life (instrumental)
Impressive Collective & BBE Music announce an exclusive vinyl 45 single by Omar Lyefook MBE to celebrate signing the legendary UK soul star.
This new partnership continues Omar’s long standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed ‘The Man’ album and continued with ‘Love In Beats’ and ‘The Omar Anthology’. To mark this auspicious news, we proudly announce the release of this limited-edition vinyl single featuring 2 tracks that is only available on this exclusive 45.
A side – ‘Lovey Dovey’ is box fresh but also classic Omar, and features his trademark assured vocal delivery over a bumping rhythm and synths provided by The Scratch Professor. The flip ‘This Thing Called Life’ is an opulent and epic instrumental piece, featuring swooping cinematic strings, over a funk laden arrangement that is part film soundtrack, part dancefloor filler.
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This new partnership continues Omar’s long standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed ‘The Man’ album and continued with ‘Love In Beats’ and ‘The Omar Anthology’. To mark this auspicious news, we proudly announce the release of this limited-edition vinyl single featuring 2 tracks that is only available on this exclusive 45.
A side – ‘Lovey Dovey’ is box fresh but also classic Omar, and features his trademark assured vocal delivery over a bumping rhythm and synths provided by The Scratch Professor. The flip ‘This Thing Called Life’ is an opulent and epic instrumental piece, featuring swooping cinematic strings, over a funk laden arrangement that is part film soundtrack, part dancefloor filler.
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Jessica Lauren has been a lynchpin of the UK scene for decades whose keyboard skills have augmented the live performances and studio recordings of all manner of legendary names, from Jean Carne, Tom Browne, Dexter Wansel, through to modern day heroes The Heliocentrics and she’s also a core member of Nick Woodmansey’s space jazz outfit Emanative.
Film is the latest and very welcome release by keyboard player, composer and producer Jessica Lauren, the long-time friend and collaborator of IMPRESS!VE Collective’s Greg Boraman. After assuming A&R control of Freestyle Records, Boraman’s first signing was ‘Jessica Lauren Four’ (2012) and also released ‘Almeria’ (2018). Both albums exhibited her minimalist approach: Jessica’s music is always sophisticated and complex but also accessible and listenable.
‘FILM’ has a fascinating backstory, inasmuch as it was originally recorded in 1997 and saw a CD only release in 1999 via the MELT 2000 label. That CD had been a firm favourite of Greg Boraman’s since then, and he recalls ‘I had it loaded onto my iPod and each time a track from Film came up on shuffle I thought just how much I thought it should be re-issued and given the attention it deserves’.
Jessica had also harboured plans to do something with this project, even treating the recordings to a 24 bit analog remastering by Guy Davie at Electric, but it remained on the shelf – until now.
In 2024, this 27-year-old album is quite remarkable in that it sounds simply and stunningly contemporary, and fits seamlessly with the current soundscape of explorative, genre bending 21st century jazz music.
Blending modal jazz, electronica, library music, field recordings and more, it melds acoustic and electric pianos, harpsichord with synthesisers, electronica and digital techniques as though it’s the most natural combination in the world.
Film cements Jessica’s reputation as a pioneering, far sighted artist who was years ahead of the crowd.
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Film is the latest and very welcome release by keyboard player, composer and producer Jessica Lauren, the long-time friend and collaborator of IMPRESS!VE Collective’s Greg Boraman. After assuming A&R control of Freestyle Records, Boraman’s first signing was ‘Jessica Lauren Four’ (2012) and also released ‘Almeria’ (2018). Both albums exhibited her minimalist approach: Jessica’s music is always sophisticated and complex but also accessible and listenable.
‘FILM’ has a fascinating backstory, inasmuch as it was originally recorded in 1997 and saw a CD only release in 1999 via the MELT 2000 label. That CD had been a firm favourite of Greg Boraman’s since then, and he recalls ‘I had it loaded onto my iPod and each time a track from Film came up on shuffle I thought just how much I thought it should be re-issued and given the attention it deserves’.
Jessica had also harboured plans to do something with this project, even treating the recordings to a 24 bit analog remastering by Guy Davie at Electric, but it remained on the shelf – until now.
In 2024, this 27-year-old album is quite remarkable in that it sounds simply and stunningly contemporary, and fits seamlessly with the current soundscape of explorative, genre bending 21st century jazz music.
Blending modal jazz, electronica, library music, field recordings and more, it melds acoustic and electric pianos, harpsichord with synthesisers, electronica and digital techniques as though it’s the most natural combination in the world.
Film cements Jessica’s reputation as a pioneering, far sighted artist who was years ahead of the crowd.
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1
Audrey Powne - Souled Out - The Cosmic Arts Interpretation Mix
2
Audrey Powne - Souled Out - Joaquin's Sacred Rhythm Version
3
Audrey Powne - Souled Out - Joaquin's Deep Version
4
Audrey Powne - Feed The Fire - musclecars Dream Dub
5
Audrey Powne - Feed The Fire - Atjazz Remix
Audrey Powne's eagerly anticipated debut album has been met with widespread acclaim from a host of tastemakers and musicians. Garnering over 500 plays on UK radio, her music has reached an audience exceeding 2 million listeners. Many have touted her work as a strong contender for Jazz Album of the Year—a remarkable achievement for a debut release.
This exceptional remix pack features a soulful interpretation from the illustrious DJ and producer Joe Claussell, profoundly inspired by the album cut "Souled Out." Claussell unveils three exquisite and spiritual remixes, each highlighting unique elements of Audrey's original production. Joaquin's Deep Version is quintessential Claussell, merging the bassy textures of a vintage King Tubby dub with vibrant percussion and dance-inducing beats. The "Sacred Rhythm Mix" is an essential for the dancefloor, weaving a seamless progression of expertly crafted sonic layers that culminate in a boogie-style crescendo, destined to be a summer anthem for DJs. The Souled The Cosmic Arts Interpretation mix completes the trinity expertly with an enchanting downtempo mix expertly seasoned with orchestral and percussive elements which breathes even more magic into Audrey’s incredible vocal display on this track. True to Claussell's renowned craftsmanship, these remixes speak for themselves— listen and be transported.
Adding to the allure of this remix pack are the superb renditions of "Feed The Fire'' by the legendary deep house producer Atjazz and the dynamic New York duo musclecars. Both remixes have garnered critical acclaim, elevating this package to an unprecedented level of excellence. Available for the first time on vinyl, these mixes are presented by BBE Music in a double pack, ensuring unparalleled sound quality that is spread out for maximum audio fidelity—a must-have for discerning DJs and vinyl aficionados who prize top-tier music pressed on wax.
This release is not just a collection of tracks but a treasure trove of sonic brilliance, making it indispensable for enthusiasts of high-quality, heartfelt music.
A1. Souled Out - The Cosmic Arts Interpretation Mix (08:17)
B1. Souled Out - Joaquin's Sacred Rhythm Version (13:53)
C1. Souled Out - Joaquin's Deep Version (08:20)
C2. Feed The Fire - Atjazz Remix (05:26)
D1. Feed The Fire - musclecars Dream Dub (09:05)
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This exceptional remix pack features a soulful interpretation from the illustrious DJ and producer Joe Claussell, profoundly inspired by the album cut "Souled Out." Claussell unveils three exquisite and spiritual remixes, each highlighting unique elements of Audrey's original production. Joaquin's Deep Version is quintessential Claussell, merging the bassy textures of a vintage King Tubby dub with vibrant percussion and dance-inducing beats. The "Sacred Rhythm Mix" is an essential for the dancefloor, weaving a seamless progression of expertly crafted sonic layers that culminate in a boogie-style crescendo, destined to be a summer anthem for DJs. The Souled The Cosmic Arts Interpretation mix completes the trinity expertly with an enchanting downtempo mix expertly seasoned with orchestral and percussive elements which breathes even more magic into Audrey’s incredible vocal display on this track. True to Claussell's renowned craftsmanship, these remixes speak for themselves— listen and be transported.
Adding to the allure of this remix pack are the superb renditions of "Feed The Fire'' by the legendary deep house producer Atjazz and the dynamic New York duo musclecars. Both remixes have garnered critical acclaim, elevating this package to an unprecedented level of excellence. Available for the first time on vinyl, these mixes are presented by BBE Music in a double pack, ensuring unparalleled sound quality that is spread out for maximum audio fidelity—a must-have for discerning DJs and vinyl aficionados who prize top-tier music pressed on wax.
This release is not just a collection of tracks but a treasure trove of sonic brilliance, making it indispensable for enthusiasts of high-quality, heartfelt music.
A1. Souled Out - The Cosmic Arts Interpretation Mix (08:17)
B1. Souled Out - Joaquin's Sacred Rhythm Version (13:53)
C1. Souled Out - Joaquin's Deep Version (08:20)
C2. Feed The Fire - Atjazz Remix (05:26)
D1. Feed The Fire - musclecars Dream Dub (09:05)
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Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.
A1. Losers & Fools (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - Weekend Sun
A2. Body Work (Nick Reach Up Remix) - Hot Streak
A3. Lovin' You (Smoove Disco Dub) - The Honeyshotz
B1. I Like Funky Music (Skratch Bastid Turntable Mix) - Uncle Louie
B2. Beyond The Clouds - Quartz
B3. Five Days - Buscrates feat DJ Epik
C1. Please Don’t Break My Heart (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - The Affair feat Alyson Williams
C2. Change - Platinum City
D1. You're So Far Away (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - Rena Scott
D2. Free Yourself (Full Intention Extended Remix) - Birdee & Nick Reach Up feat Barbara Tucker
D3. Love Don't Pay The Bills - Trailer Limon
E1. Black Water Gold Part 2 (DJ Andy Smith Reach Up Disco Wonderland Extended Mix) - The Sunshine Band
E2. The Big Throwdown - Get To Know
E3. Make It Alright - BB Soul feat Laura Jackson
F1. Disco Hi-Life - Orlando Julius
F2. Bad Times (Yam Who Extended Vocal Remix) - Risk Assessment
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A1. Losers & Fools (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - Weekend Sun
A2. Body Work (Nick Reach Up Remix) - Hot Streak
A3. Lovin' You (Smoove Disco Dub) - The Honeyshotz
B1. I Like Funky Music (Skratch Bastid Turntable Mix) - Uncle Louie
B2. Beyond The Clouds - Quartz
B3. Five Days - Buscrates feat DJ Epik
C1. Please Don’t Break My Heart (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - The Affair feat Alyson Williams
C2. Change - Platinum City
D1. You're So Far Away (DJ Andy Smith Reach Up Disco Wonderland Re-Edit) - Rena Scott
D2. Free Yourself (Full Intention Extended Remix) - Birdee & Nick Reach Up feat Barbara Tucker
D3. Love Don't Pay The Bills - Trailer Limon
E1. Black Water Gold Part 2 (DJ Andy Smith Reach Up Disco Wonderland Extended Mix) - The Sunshine Band
E2. The Big Throwdown - Get To Know
E3. Make It Alright - BB Soul feat Laura Jackson
F1. Disco Hi-Life - Orlando Julius
F2. Bad Times (Yam Who Extended Vocal Remix) - Risk Assessment
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Tamil Rogeon, the Melbourne based multifaceted jazz, classical and electronic violin & viola player firmly cemented his reputation with the critical success of his 2021 album Son Of Nyx which was released on Soul Bank Music, Impressive Collective head honcho Greg Boraman's previous label. Lauded as a modal and spiritual jazz fusion opus, Son Of Nyx found favour with Gilles Peterson, Laurent Garnier, Rebecca Vasmant, BBC6 Music's' Cerys Matthews and Deb Grant, was a Jazz FM’ Album of the Week. Building upon that highly original sound concept, Wave Theory draws from the jazz fusion movements of the 70s and 80s and conjures up textured soundscapes rich with cosmic synths, soaring vocals and deep jazz funk, and sees Tamil once again joining forces with Son of Nyx contributors Rita Satch and Daniel Mougerman, plus new collaborators and special guests including Lance Ferguson and celebrated trumpeter, friend Audrey Powne. Listeners can expect the same modal experiments, driving percussion and cosmic synths of Son of Nyx as well as new and exhilarating experiments in electric string instrumentation. Across all 6 tracks the highlights are numerous, but of particular note are the album opener "Ascend it!"; a fusion masterpiece that seamlessly blends psychedelic elements, funk grooves, intricate melodies, and improvisation. When "Doom Date" takes flight we are transported to Mahavishnu Orchestra-like territory, before finishing with an angular melody that is pure jazz-fusion inventiveness. The irresistibly funky 'Gift Of The Gab” is built upon a hypnotic bass line over drum and percussion. Laden with synth and retro keyboards reminiscent of the deep funk of Herbie Hancock’s late 70s period. "Mountain Bug' alternates between minor and major keys, a hallucinatory violin solo is followed by a dazzling trumpet improvisation. A restatement of the melody accompanied by the gunfire of the drum set and percussion. Tamil says of Wave Theory “Sometimes themes reveal themselves through creative encounters and through life experience. I wrote and recorded the album in six months. A lot happened to me and my friends during that time so, for me, ‘Wave Theory’ is like a musical snapshot of life’s relentless ebbs and flows. It’s about the sadness and thrills of endless transformation and the power of creative connection".
Tracklisting
1. Beneath Her
2. Ascend It
3. Mountain Bug
4. Doom Date
5. Gift Of The Gab
6. Axe To Grind
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Tracklisting
1. Beneath Her
2. Ascend It
3. Mountain Bug
4. Doom Date
5. Gift Of The Gab
6. Axe To Grind
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Originally released in 1979 on the Orion label 'Music For Complete Jazz Dance Class With Lea Darwin' is an absolute double vinyl treasure vault of tracks composed by percussionist and multi-instrumentalist Rick Panzer. Re-discovered by Klinkhamer Record shop boss Michel Veenstra it is now being reissued on BBE Music as part of the Klinkhamer series. Michel Veenstra first heard the album in the early 2000s and spent years trawling through German phone directories to find the correct Rick Panzer to get his blessings to once again release the album to a music loving public. The album itself heralded the track 'Pre-Stretch Warm-up' which featured on the Klinkhamer Volume 2' compilation to great acclaim and airplay from broadcasters and DJs. Originally conceived as music for a Jazz Ballet or Jazz Dance theatre piece the album is a masterpiece of Jazz composition and musicianship. Starting with 'Pre-Stretch Warm-Up', which builds on a bedrock of amazing drum breaks and warm fender Rhodes interweaving with superb vocals from Paula Eastwood, the album takes the listener, and dancer, on a ride that captures deep Jazz-Funk grooves and heavy percussion as well as laidback grooves. 'Music For Complete Jazz Dance Class' is an album for the dance floor, for listening at home or in the car and one that adds to any discerning music lover's collection of vinyl must-haves.
Vinyl Tracklist:
A1. Pre-stretch Warm Up (16:18)
B1. Floor Stretch Warm Up (05:01)
B2. Adagio 04:03)
C1. Plies (09:04)
C2. Tendus 04:32)
C3. Attitude, Leg Swings And Developes (04:40)
C4. Isolations (03:59)
D1. Bar Stretch (04:12)
D2. Jazz Walks (04:52)
D3. Jazz Turns (05:48)
D4. Jazz Leaps (05:28)
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Vinyl Tracklist:
A1. Pre-stretch Warm Up (16:18)
B1. Floor Stretch Warm Up (05:01)
B2. Adagio 04:03)
C1. Plies (09:04)
C2. Tendus 04:32)
C3. Attitude, Leg Swings And Developes (04:40)
C4. Isolations (03:59)
D1. Bar Stretch (04:12)
D2. Jazz Walks (04:52)
D3. Jazz Turns (05:48)
D4. Jazz Leaps (05:28)
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This BBE released compilation is seriously a must have in any Black Music lover's collection. Compiled by the London DJ and promoter duo of husband and wife team, the Handson Family, as part of the massively important If Music presents: You Need This series and released on the UK's foremost independent Black Music label, An Introduction to the Handson Family has Black Music heritage coursing through its tracks. With a tracklist that includes music from Emanative, the much missed genius of south London's Ty, Cecilia Statin, Xantone Blacq and more, the album that Cyndi and Christian have put together is one that sheds light on the high quality and considered variety of selections in their DJ sets (Including Cross the Tracks, Southport Weekender and We Out Here), their hugely influential Off The Shelf radio show on Soho Radio and their south London residencies. If you are looking for knowledge in what is the sounds and styles of Black Music genres in recent years then this is a compilation that will be an education in absolute brilliance, if you are aware of these artists and tracks then this is a release that brings them together in a DJ set style of the highest order and if you are so far unaware of the Handson Family and their undoubted influence on south London place in the capital's (and the Uk's) club culture then here is their calling card. Releasing as both digital and a double vinyl LP, If Music presents You Need This: An Introduction to the Handson Family is simply superb and is unapologetically Black Music selected by Black DJs for everybody.
Viny Track List
A1. We Travel The Spacebeats - Emanative (05:10)
A2. Dreams - Ty (04:49)
A3. Sundown - MckNasty (feat. The MAC SiStars) (04:46)
B1. CPW - Cecilia Stalín (05:20)
B2. Hangers On - The Nabatean (06:00)
B3. Bologna - Jazz Chronicles (06:24)
C1. Dancing on Holiday - Souled (06:59)
C2. Bring Me to Your Life - One51 (feat. Heidi Vogel) (05:37)
C3. Illusions - Tommy Rawson (05:20)
D1. Staring at the Sun - P'taah (05:41)
D2. Search for the Sun (Platinum Remix) - Xantoné Blacq (05:23)
D3. Love Beams - Ian O'Brien (04:47)
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Viny Track List
A1. We Travel The Spacebeats - Emanative (05:10)
A2. Dreams - Ty (04:49)
A3. Sundown - MckNasty (feat. The MAC SiStars) (04:46)
B1. CPW - Cecilia Stalín (05:20)
B2. Hangers On - The Nabatean (06:00)
B3. Bologna - Jazz Chronicles (06:24)
C1. Dancing on Holiday - Souled (06:59)
C2. Bring Me to Your Life - One51 (feat. Heidi Vogel) (05:37)
C3. Illusions - Tommy Rawson (05:20)
D1. Staring at the Sun - P'taah (05:41)
D2. Search for the Sun (Platinum Remix) - Xantoné Blacq (05:23)
D3. Love Beams - Ian O'Brien (04:47)
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For 'The Ones', Chicago House and Disco producer, Rahaan has pulled together a plethora of musicians and vocalists to create a smokestack of soul fuelled excellence on this ten track album. From the amazing vocals courtesy of Marcus J. Austin and Nancy Clayton on the opener, 'We Are The Ones', through the amazing instrumental City Rain Supreme and the vocals of Spike Rebel on the anthemic 'Forever', this album absolutely excels. The promise made on the original three track EP released on BBE Music in the Summer of 2023 is well and truly delivered on. Working with live musicians throughout the recording process has added layers of finesse and genuinely unfeigned authenticity in the overall sound of this album. Carnell Newbill's basslines and keys, Todd Swope's Afrobeat inspired guitar licks and the horns of Ohio Players legend Kenny Anderson all blend organically with the aforementioned vocalists to create an album of sublime music befitting the best traditions of the Chicago House canon. Rahaan Young is a DJ and producer who has been DJing since playing at parties in his native Chicago the 1980s. As a DJ he's enjoyed residencies at both The Spot and Buddha Lounge as well as entertaining and moving dance floors around the globe with DJ sets that show his music knowledge and exquisite taste. The Ones is mastered at the Grammy nominated Carvery Studios and will be released on vinyl and digital on BBE Music, adding to the catalogue of innovative and highly pertinent releases from artists, musicians and producers from across the world.
Tracklisting
Disc: 1
1. What You Are To Me
2. We Are The Ones (Interlude)
3. We Are The Ones
4. Star Seed
5. City Rain Supreme
Disc: 2
1. Toy Boy
2. Promised Land
3. Manifest Into Movement
4. Forever
5. Fire
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Tracklisting
Disc: 1
1. What You Are To Me
2. We Are The Ones (Interlude)
3. We Are The Ones
4. Star Seed
5. City Rain Supreme
Disc: 2
1. Toy Boy
2. Promised Land
3. Manifest Into Movement
4. Forever
5. Fire
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1
musclecars - Tonight
2
musclecars - Tonight (Louie Vega Bronx Dub)
3
musclecars - Tonight (Louie Vega Remix)
4
musclecars - Hello? (Maurice Fulton Remix)
5
musclecars - Ha Ya! (Eternal Life)(Planetarium Mix)
6
musclecars - I Don’t Remember The Last Time I Saw Stars
After the highly anticipated debut album "Sugar Honey Iced Tea!," the dynamic NYC duo strikes once more with a double pack of alternate versions and remixes. Craig Handfield and Brandon Weems, better known as musclecars, have unveiled a dance music masterpiece, now graced by the touch of house music legends Louie Vega and Maurice Fulton.
This double pack showcases multiple versions of "Tonight," remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub).
Additionally, we are gifted a new version of "Hello?" reimagined by Maurice Fulton. In this version, Maurice's signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original.
Complementing the remixes from musclecars' esteemed inspirations, we encounter two new versions of "Ha Ya! (Eternal Life)" and "Water," both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey "I Don’t Remember The Last Time I Saw Stars."
The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!
A1. Tonight (05:55)
A2. Tonight (Louie Vega Bronx Dub) (05:50)
B1. Tonight (Louie Vega Remix) (08:22)
C1. Hello? (Maurice Fulton Remix) (06:44)
C2. Ha Ya! (Eternal Life)(Planetarium Mix) (07:38)
D1. I Don’t Remember The Last Time I Saw Stars (11:10)
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This double pack showcases multiple versions of "Tonight," remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub).
Additionally, we are gifted a new version of "Hello?" reimagined by Maurice Fulton. In this version, Maurice's signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original.
Complementing the remixes from musclecars' esteemed inspirations, we encounter two new versions of "Ha Ya! (Eternal Life)" and "Water," both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey "I Don’t Remember The Last Time I Saw Stars."
The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!
A1. Tonight (05:55)
A2. Tonight (Louie Vega Bronx Dub) (05:50)
B1. Tonight (Louie Vega Remix) (08:22)
C1. Hello? (Maurice Fulton Remix) (06:44)
C2. Ha Ya! (Eternal Life)(Planetarium Mix) (07:38)
D1. I Don’t Remember The Last Time I Saw Stars (11:10)
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Steve Reich - Four Organs
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Steve Reich - My Name Is
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Steve Reich - Piano Phase Part One
4
Steve Reich - Piano Phase Part Two
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Steve Reich - Phase Patterns
A live performance of four early works by Steve Reich: "Four Organs", "My Name Is", "Piano Phase", and "Phase Patterns." This performance marked an important moment in San Francisco Bay Area new music history with the triumphant return to the East Bay by Steve Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley's seminal work, “In C", at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. The capacity crowd occupied every conceivable area of the interior space, including walkway ramps suspended over gallery spaces. It was an electrifying evening!
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(clear pink color vinyl / LP with OBI) Fresh reissued magic of Funky Stuff, formerly a rare exquisite by jazzmaster Jiro Inagaki, originally released in 1975. An enduring, pioneering fusion of jazz, funk, soul and rock - the album features some of the best and most acclaimed Japanese musicians of the time, enlisting the talent-wares of Hiromasa Suzuki on keyboards, Akira Ishikawa on drums and Takeru Muraoka on sax.
TRACKLIST
A1. Painted Paradise
A2. Funky Motion
A3. Breeze
A4. Scratch
B1. Funky Stuff
B2. One For Jiro
B3. Gentle Wave
B4. Four Up
INFO
Fresh reissued magic of Funky Stuff, formerly a rare exquisite by jazzmaster Jiro Inagaki, originally released in 1975. An enduring, pioneering fusion of jazz, funk, soul and rock - with influences from Herbie Hancock, James Brown and Santana - the album features some of the best and most acclaimed Japanese musicians of the time, enlisting the talent-wares of Hiromasa Suzuki on keyboards, Akira Ishikawa on drums and Takeru Muraoka on sax.
Originally released in 1975
Features a cover of “Funky Stuff” by Kool & The Gang
All songs written and arranged by Hiromasa Suzuki
Pressed on Pink Vinyl
Tenor Sax, Alto Sax, Flute, Producer – Jiro Inagaki
Electric Piano – Hiromasa Suzuki
Drums – Hajime Ishimatsu
Bass – Akira Okazawa
Guitar – Hiroshi Yasukawa
Trombone – Takashi Imai
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TRACKLIST
A1. Painted Paradise
A2. Funky Motion
A3. Breeze
A4. Scratch
B1. Funky Stuff
B2. One For Jiro
B3. Gentle Wave
B4. Four Up
INFO
Fresh reissued magic of Funky Stuff, formerly a rare exquisite by jazzmaster Jiro Inagaki, originally released in 1975. An enduring, pioneering fusion of jazz, funk, soul and rock - with influences from Herbie Hancock, James Brown and Santana - the album features some of the best and most acclaimed Japanese musicians of the time, enlisting the talent-wares of Hiromasa Suzuki on keyboards, Akira Ishikawa on drums and Takeru Muraoka on sax.
Originally released in 1975
Features a cover of “Funky Stuff” by Kool & The Gang
All songs written and arranged by Hiromasa Suzuki
Pressed on Pink Vinyl
Tenor Sax, Alto Sax, Flute, Producer – Jiro Inagaki
Electric Piano – Hiromasa Suzuki
Drums – Hajime Ishimatsu
Bass – Akira Okazawa
Guitar – Hiroshi Yasukawa
Trombone – Takashi Imai
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1
Ike Yard - Facile
2
Ike Yard - Dancing + Slaving
3
Ike Yard - War=Strong
4
Ike Yard - Agua (Diablo)
5
Ike Yard - S.I. (I Couldn't See)
6
Ike Yard - A Dull Life
7
Ike Yard - We Are One
8
Ike Yard - I Killed Picasso
9
Ike Yard - Freighter
10
Ike Yard - Wolfen
Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.
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Cat-No:hrlp315
Release-Date:13.12.2023
Configuration:LP
Cat-No:hrlp315
Release-Date:13.12.2023
Configuration:LP
(Originally released in 1987, Comes with obi, Pressed on Black Viny) A masterpiece of Japanese ambient/new age music
TRACKLIST
A1. Himawari
A2. Retro no Shizuku
A3. Yasha
A4. Boufuu
A5. Reien no Madobe
B1. Kinshitsu no Shirabe
B2. Itoshi no Rei
B3. Keisetsu
B4. Ranja no Sono
B5. Koshuu
INFO
Soundtrack of the documentary program for Japanese art history, “Japan: Its Heart and Form” which was aired on NHK educational channel from 1987 to 1988. Akira Mitake worked on it, and after the dissolution of Ippudo, he produced music for the media and provided music to many artists, mainly pop music. It’s an electronic work that expresses the silence, space, romance reminiscent of Japanese spirit. The entire contents has a mysterious atmosphere, “Yasha” and “Keisetsu” are particularly captivating, evoking the beauty of Japan. Truly amazing piece left by the talent behind Masami Tsuchiya, who can be interpreted as ambient music.
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TRACKLIST
A1. Himawari
A2. Retro no Shizuku
A3. Yasha
A4. Boufuu
A5. Reien no Madobe
B1. Kinshitsu no Shirabe
B2. Itoshi no Rei
B3. Keisetsu
B4. Ranja no Sono
B5. Koshuu
INFO
Soundtrack of the documentary program for Japanese art history, “Japan: Its Heart and Form” which was aired on NHK educational channel from 1987 to 1988. Akira Mitake worked on it, and after the dissolution of Ippudo, he produced music for the media and provided music to many artists, mainly pop music. It’s an electronic work that expresses the silence, space, romance reminiscent of Japanese spirit. The entire contents has a mysterious atmosphere, “Yasha” and “Keisetsu” are particularly captivating, evoking the beauty of Japan. Truly amazing piece left by the talent behind Masami Tsuchiya, who can be interpreted as ambient music.
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Germany
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You are about to embark on a new intergalactic journey into black space, fuelled by funk, powered by computers. Soul Jazz Records" new second collection of twisted hyperspace electro/funk "Space Funk 2: Afro Futurist Electro Funk in Space 1976-84", continues its intergalactic journey. Featuring rare and off-the-wall space funk and electro rarities and obscurities, all released on small independent USA record labels in the late 1970s and 1980s. Artists on this release include Alien Starr, Bobby Demo, Maggatron, Mid-City Crew, Tribe, Junie, Rich Cason and the Galactic Orchestra and many more intergalactic space warriors! This is space age bionic funk, programmed to make you dance!!!
TRACKLIST:
A/B
1. Alien Starr - Music-A-Lizer
2. Chance - Master Groove (Instrumental)
3. The Bobby Deemo Band - More Ounce Rap
4. Mack Simmons - Skin Tight
5. Maggotron - Computer Pop
6. Tribe - Vulcan Voyage
7. Command Performance - Breakdance
C/D
1. Junei - Let's Ride
2. The Graingers - Shine Your Light
3. Mid City Crew - Get Right
4. Chapter Three - Smurf Trek
5. X-Ray Vision - Video Control
6. Rich Cason and The Galactic Orchestra - Year 2001 Boogi
7. Frank James and Shadow - Summer Tim
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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TRACKLIST:
A/B
1. Alien Starr - Music-A-Lizer
2. Chance - Master Groove (Instrumental)
3. The Bobby Deemo Band - More Ounce Rap
4. Mack Simmons - Skin Tight
5. Maggotron - Computer Pop
6. Tribe - Vulcan Voyage
7. Command Performance - Breakdance
C/D
1. Junei - Let's Ride
2. The Graingers - Shine Your Light
3. Mid City Crew - Get Right
4. Chapter Three - Smurf Trek
5. X-Ray Vision - Video Control
6. Rich Cason and The Galactic Orchestra - Year 2001 Boogi
7. Frank James and Shadow - Summer Tim
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DE - 22113 Hamburg
Germany
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1
Junie - No Title
2
Junie - No Title
3
Junie - No Title
4
Junie - No Title
5
Junie - No Title
6
Junie - No Title
7
Junie - No Title
8
Junie - No Title
Format: 1 x LP | Limited Blue Transparent Edition
Tracklist:
Side A
1. Junie II
2. Medley: Pain | Cookies Will Get You | Pleasure | Ecstasy
3. Musical Son
4. Fopp
Side B
1. Surrender
2. Super Groupie
3. Super J.
4. Granny's Funky Rolls Royce
Release Notes:
Walter “JUNIE” Morrison was a former member of the OHIO PLAYERS and responsible for writing and
arranging their early 1970s hit singles “Pain”, “Pleasure”, “Ecstasy” and most notably, the group’s
first Billboard R&B Number One “Funky Worm”. In 1978 he joined George Clinton’s Funk Mob
PARLIAMENT FUNKADELIC and, as their musical director, played a key role during the creation of the
hit albums “One Nation Under A Groove”, “Motor Booty Affair”, “Gloryhallastoopid” and their R&B
Number Ones, “One Nation Under A Groove” and "(Not Just) Knee Deep". In between acts he
released three solo albums for Westbound Records that showcased his unique take on the funk. “The
Funky Worm – Live at Dooley’s 1976” is a one of kind live recording from his mid-70s Westbound
solo period that was only recently discovered. Regrooved Records is proud to present the very first
live album of funk icon JUNIE MORRISON.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
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Tracklist:
Side A
1. Junie II
2. Medley: Pain | Cookies Will Get You | Pleasure | Ecstasy
3. Musical Son
4. Fopp
Side B
1. Surrender
2. Super Groupie
3. Super J.
4. Granny's Funky Rolls Royce
Release Notes:
Walter “JUNIE” Morrison was a former member of the OHIO PLAYERS and responsible for writing and
arranging their early 1970s hit singles “Pain”, “Pleasure”, “Ecstasy” and most notably, the group’s
first Billboard R&B Number One “Funky Worm”. In 1978 he joined George Clinton’s Funk Mob
PARLIAMENT FUNKADELIC and, as their musical director, played a key role during the creation of the
hit albums “One Nation Under A Groove”, “Motor Booty Affair”, “Gloryhallastoopid” and their R&B
Number Ones, “One Nation Under A Groove” and "(Not Just) Knee Deep". In between acts he
released three solo albums for Westbound Records that showcased his unique take on the funk. “The
Funky Worm – Live at Dooley’s 1976” is a one of kind live recording from his mid-70s Westbound
solo period that was only recently discovered. Regrooved Records is proud to present the very first
live album of funk icon JUNIE MORRISON.
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
Satsuki Shibano - A1. La Balançoire (Sports et Divertissements) 1914
2
Satsuki Shibano - A2. Berceuse (Enfantillages pittoresques) 1913
3
Satsuki Shibano - A3. Caresse 1897
4
Satsuki Shibano - A4. Ce que dit la petite princesse des tulipes (Menus propos enfantins) 1913
5
Satsuki Shibano - A5. 5ème Gnossienne 1889
6
Satsuki Shibano - A6. Colin-Maillard (Sports et Divertissements) 1914
7
Satsuki Shibano - B1. Danses de travers (Pièces froides) 1897
8
Satsuki Shibano - B2. 2ème Gnossienne 1890
9
Satsuki Shibano - B3. 2ème Gymnopédie 1888
10
Satsuki Shibano - B4. Harmonie 1895
11
Satsuki Shibano - B5. Idylle (Avant-dernières pensées) 1915
12
Satsuki Shibano - B6. Idylle cynique (Préludes flasques<Pour un chien>) 1912
13
Satsuki Shibano - B7. Lui manger sa tartine (Peccadilles importunes) 1913
14
Satsuki Shibano - C1. La pêche (Sports et Divertissements) 1914
15
Satsuki Shibano - C2. Petite ouverture à danser 1900
16
Satsuki Shibano - C3. Petit prélude à la journée (Enfantillages pittoresques) 1913
17
Satsuki Shibano - C4. Prière 1895
18
Satsuki Shibano - C5. 4ème Gnossienne 1891
19
Satsuki Shibano - C6. 4ème Nocturne 1919
20
Satsuki Shibano - D1. Rêverie du pauvre 1900
21
Satsuki Shibano - D2. Son binocle (Les trois valses distinguées du précieux dégoûté) 1914
22
Satsuki Shibano - D3. Songe creux 1906-08?
23
Satsuki Shibano - D4. Sur un vaisseau (Descriptions automatiques) 1913
24
Satsuki Shibano - D5. Tyrolienne turque (Croquis et agaceries d’un gros bonhomme en bois) 1913
25
Satsuki Shibano - D6. Vexation 1895
26
Satsuki Shibano - D7. Voix d’intérieur (Préludes flasques<Pour un chien>) 1912
Worldwide, DLP: 350gsm Heavyweight Sleeve, Liner Notes, Sticker
Genre: Classical, Minimalism, Ambient, Environmental, Piano, Furniture Music
Tracklisting DLP
Tracklisting DLP
A1. La Balançoire (Sports et Divertissements) 1914
A2. Berceuse (Enfantillages pittoresques) 1913
A3. Caresse 1897
A4. Ce que dit la petite princesse des tulipes (Menus propos enfantins) 1913
A5. 5ème Gnossienne 1889
A6. Colin-Maillard (Sports et Divertissements) 1914
B1. Danses de travers (Pièces froides) 1897
B2. 2ème Gnossienne 1890
B3. 2ème Gymnopédie 1888
B4. Harmonie 1895?
B5. Idylle (Avant-dernières pensées) 1915
B6. Idylle cynique (Préludes flasques) 1912
B7. Lui manger sa tartine (Peccadilles importunes) 1913
C1. La pêche (Sports et Divertissements) 1914
C2. Petite ouverture à danser 1900
C3. Petit prélude à la journée (Enfantillages pittoresques) 1913
C4. Prière 1895
C5. 4ème Gnossienne 1891
C6. 4ème Nocturne 1919
D1. Rêverie du pauvre 1900
D2. Son binocle (Les trois valses distinguées du précieux dégoûté) 1914
D3. Songe creux 1906-08?
D4. Sur un vaisseau (Descriptions automatiques) 1913
D5. Tyrolienne turque (Croquis et agaceries d’un gros bonhomme en bois) 1913
D6. Vexation 1895
D7. Voix d’intérieur (Préludes flasques) 1912
Info
WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).
The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.
Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.
The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »
Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.
Points of interests
For fans of furniture music, environmental music, music as an environment for furniture, ambient, Midori Takada, Satoshi Ashikawa, Hiroshi Yoshimura, of course Erik Satie, Brian Eno, minimalism, piano, classical, complete record collections classified by genre, soothing sounds, waves and notations.
First official reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, sourced from the original master tape, remastered and available in the double LP format for the first time.
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
Genre: Classical, Minimalism, Ambient, Environmental, Piano, Furniture Music
Tracklisting DLP
Tracklisting DLP
A1. La Balançoire (Sports et Divertissements) 1914
A2. Berceuse (Enfantillages pittoresques) 1913
A3. Caresse 1897
A4. Ce que dit la petite princesse des tulipes (Menus propos enfantins) 1913
A5. 5ème Gnossienne 1889
A6. Colin-Maillard (Sports et Divertissements) 1914
B1. Danses de travers (Pièces froides) 1897
B2. 2ème Gnossienne 1890
B3. 2ème Gymnopédie 1888
B4. Harmonie 1895?
B5. Idylle (Avant-dernières pensées) 1915
B6. Idylle cynique (Préludes flasques
B7. Lui manger sa tartine (Peccadilles importunes) 1913
C1. La pêche (Sports et Divertissements) 1914
C2. Petite ouverture à danser 1900
C3. Petit prélude à la journée (Enfantillages pittoresques) 1913
C4. Prière 1895
C5. 4ème Gnossienne 1891
C6. 4ème Nocturne 1919
D1. Rêverie du pauvre 1900
D2. Son binocle (Les trois valses distinguées du précieux dégoûté) 1914
D3. Songe creux 1906-08?
D4. Sur un vaisseau (Descriptions automatiques) 1913
D5. Tyrolienne turque (Croquis et agaceries d’un gros bonhomme en bois) 1913
D6. Vexation 1895
D7. Voix d’intérieur (Préludes flasques
Info
WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).
The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.
Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.
The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »
Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.
Points of interests
For fans of furniture music, environmental music, music as an environment for furniture, ambient, Midori Takada, Satoshi Ashikawa, Hiroshi Yoshimura, of course Erik Satie, Brian Eno, minimalism, piano, classical, complete record collections classified by genre, soothing sounds, waves and notations.
First official reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, sourced from the original master tape, remastered and available in the double LP format for the first time.
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
Label:Sound Metaphors Records
Cat-No:SMR008
Release-Date:16.09.2022
Genre:House / Techno
Configuration:2LP
Label:Sound Metaphors Records
Cat-No:SMR008
Release-Date:16.09.2022
Genre:House / Techno
Configuration:2LP
2xLP retrospective compilation of Aad De Mooy's work in the first half of the 90's, a very unique flavor of early trance/acid techno productions, remastered.
A retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.
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 retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.
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
Pink Elln - Human Perc
2
Karen Marks - Cold Cafe
3
Disque Omo - Toujours L'Amour
4
Vorgruppe - Mensch Im Eis
5
Iham/Echo - Eagle
6
Perfect Mother - Dark-Disco-Da-Da-Da-Da-Run
7
Arvid Tuba - The Seasons Are Sitting On Chairs
8
Subject - Don't Be Blind
9
Denial - California Dreaming
10
Unovidual - Dit Is Pas Het Begin
11
Aural Indifference - Park
12
Autumn - You Are You Are
Over the last two or three years, New York's Minimal Wave outpost has focussed on releasing plenty of new music that fits in line with their unashamedly 'cold-wave' approach, and this has opened them to a whole variety of listeners and DJs. However, in our opinion, where they truly shine is in providing the underground masses with compilations such as this latest The Bedroom Tapes: A Compilation Of Minimal Wave From Around The World 1980-1991, a glorious snapshot of all the very best slices of lo-fi that has largely gone unnoticed to the modern eye. Of course, the majority of these tunes are now expensive in their original formats, but we're taking about a small crew of Discogs sharks who are upping the prices. Here, you're able to properly - and peacefully - enjoy some of the very best minimal machine-drum soul from peeps like Karen Marks, Vorgruppe, Perfect Mother and Aural Indifference, among others. This truly is a feast for the modern digger. Excellent.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
Germany
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1
Mirko Krsticevic - THE SECOND DREAMS (THEME FROM HOUSE ON THE SAND)
2
Mirko Krsticevic - THE TORTURE (THEME FROM TIME OF HEROES)
3
Mirko Krsticevic - MOTORCYCLE (THEME FROM THE EXILE)
4
Mirko Krsticevic - THE OPENING NIGHT (THEME FROM LJUBA PAR LUI MEME)
5
Mirko Krsticevic - IN THE BEAUBOURG GALLERY (THEME FROM LJUBA PAR LUI MEME)
6
Mirko Krsticevic - ALL AND NOTHING AT ALL (MAIN THEME FROM ALL AND NOTHING AT ALL)
7
Mirko Krsticevic - ALL AND NOTHING AT ALL (UNUSED THEME FROM ALL AND NOTHING AT ALL)
8
Mirko Krsticevic - JERE AND MARIJA IN THE ROOM (THEME FROM MARJUCA OR DEATH)
9
Mirko Krsticevic - THE BITTER TEARS OF PETRA VON KANT I (THEME FROM THE BITTER TEARS OF PETRA VO
10
Mirko Krsticevic - THE BITTER TEARS OF PETRA VON KANT II (THEME FROM THE BITTER TEARS OF PETRA V
11
Mirko Krsticevic - CASSANDRA (THEME FROM THE TROJAN WAR WILL NOT TAKE PLACE)
12
Mirko Krsticevic - PEACE (THEME FROM THE TROJAN WAR WILL NOT TAKE PLACE)
13
Mirko Krsticevic - FOURTH CHOIR - SUN RAY (THEME FROM BIEDERMANN UND DIE BRANDSTIFTE
14
Mirko Krsticevic - SECOND CHOIR - MARCHING STEP (THEME FROM BIEDERMANN UND DIE BRANDSTIFTER)
15
Mirko Krsticevic - THE BEGINNING BEFORE THE BEGINNING (THEME FROM FOOL FOR LOVE - SAVA
16
Mirko Krsticevic - SHE RUNS AWAY (THEME FROM FOOL FOR LOVE - SAVAGE LOVE)
17
Mirko Krsticevic - EDDIE ENTERS (THEME FROM FOOL FOR LOVE - SAVAGE LOVE)
18
Mirko Krsticevic - A JERK (THEME FROM FEAR AND HOPE OF THE GERMAN FEDERAL REPUBLIC)
19
Mirko Krsticevic - SONG 3 (THEME FROM FEAR AND HOPE OF THE GERMAN FEDERAL REPUBLIC)
20
Mirko Krsticevic - CHERNOBYL (THEME FROM FEAR AND HOPE OF THE GERMAN FEDERAL REPUBLIC)
A collection of music for the various films and theatre plays by Mirko Krsticevic, Croatian and Yugoslavian composer and musician active since 1970s. All and Nothing at All (Film and Theatre Music 1978 - 1988) focuses on his work for the underground and avantgarde cinema from the era: directors Ivan Martinac, Svemir Pavic, Lordan Zafranovic, Aleksandar F. Stasenko and Vanca Kljakovic are all part of the Split Cinema Club association; their work explores art, death, sexuality and eroticism. Pavic's portrait of surrealist painter Ljuba Popovic, made in the same year as its counterpart by Walerian Borowczyk, features scenes form Beaubourg Gallery in Paris and Udo Kier as a guest. Side B of the record is all about theatre: plays by Sam Shepard, Rainer Werner Fassbinder and Jean Giraudoux were all produced in Sarajevo and Split in the 1980s, with the rare electronic takes by Mirko Krsticevic and his subtle minimalist soundings of the themes from the Cold War era. This unique and diverse compositions by founder of the rock band Metak and sound studio Tetrapak from Split, are document of the time that is, especially in the closing Chernobyl theme, relevant again. Composer, musician and musical arranger Mirko Krsticevic was born in 1948 in Sibenik. He graduated in music theory at the Pedagogical Academy in Split and then at the Music Academy in Sarajevo. He studied composition with Josip Magdic, Mladen Pozajic and Miroslav Spiler. He is the co-founder of the Tetrapak music studio in Split, where numerous performers and musicians have recorded (Animatori, D'Boys, Haustor, Oliver Mandic, Gibonni, Srdjan Marjanovic, Stil, Trotakt Projekt and others). The first group he founded was the rock group Che, which performed his own songs, in which he played bass guitar. It was founded in the summer of 1969. Together with Ranko Boban and Momcilo Popadic, he founded the Metak group in the spring of 1978 in Prigradica on Korcula. In the group, he is the author of songs and lyrics, and he also plays the bass guitar. "Da mi je biti morski pas" is the group's most successful single, which in 1980 became one of the most played songs on radio and television. Metak performed in Belgrade in front of 70,000 people, and the media declared them the best group along with Macedonian Leb i sol. In compositional work and arrangements for other pop and rock artists, Krsticevic had high commercial success with Tutti Frutti Balkan Band, Biljana Petrovic, Seid Memic Vajta, Pepel in kri, Osmi putnik, Oliver Dragojevic , Djordji Peruzovic, Henda and others. Parallel to his pop and rock career, Krsticevic composed stage and film music for 45 films, mostly collaborating with the circle of experimental and amateur directors of the Split Cinema Club (Kino klub Split) as well as the rest of the local underground scene. He is the author of stage music for 130 theatre plays, and also records his own compositions in the field of contemporary music. He wrote over 30 works for solo instruments, chamber and symphonic music. At the end of 2007, he founded the Split society for contemporary music and the contemporary music ensemble Splithesis. In 2015, he founded his own orchestra The Highway to Well Family, composed of fourteen musicians and three singers. In 2021, he founded Arthesis, an artistic organization for contemporary music and visual arts. He is the author of four operas: "Krvava svadba" (1997), "Halugica" (1999), "Atlantida - Legenda o Dan'zoru" (2018) i "Atlantida II - Lu'blis Kaoamos" (2020). He is the winner of numerous awards, lives and works in Split. Gatefold LP with extensive liner notes, Direct Metal Mastering (DMM) from original tapes, pressed at Record Industry. File under: Soundtrack, Stage, Electronica
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DE - 22113 Hamburg
Germany
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
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Contact: gpsr@wordandsound.netMore
Cat-No:hmjy204
Release-Date:19.04.2024
Configuration:LP
Cat-No:hmjy204
Release-Date:19.04.2024
Configuration:LP
TRACKLISTING:
A1. That's How I Feel
A2. Blue Blood
A3. It's Impossible
A4. Put It Where You Want It
A5. Crazy Medicine
B1. Joie De Vivre
B2. Papa Hooper's Barrel House Groove
B3. Thrill Is Gone
B4. Raven Speaks
B5. Samba Chimba
• 2024 Record Store Day Exclusive
• Japanese Jazz
• Original released in 1973
• White Coloured Vinyl
Refined jazz. Well-crafted rock. Finely honed funk. Swallowing everything, a strong groove begins to run.
Since their formation in 1969, Soul Media has advocated a fusion of jazz and rock. This work, ``In the Groove,'' recorded in 1973, took this route to the next step. Bringing the sharpness of jazz to the fore, blending rock to give it an edge, and injecting funk to exude power and elasticity. They created strong, sophisticated, and simply "cool music" that could not be categorized into existing genres such as jazz-rock, jazz-funk, and fusion.
This work is said to be a response to The Crusaders, which Jiro Inagaki was paying attention to at the time. The aim was on point. With this work, Soul Media acquires a "sophisticated black feeling" and heads toward their final destination, "Funky Stuff.”
Text by Yusuke Ogawa (UNIVERSOUND/DEEP JAZZ REALITY)
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A1. That's How I Feel
A2. Blue Blood
A3. It's Impossible
A4. Put It Where You Want It
A5. Crazy Medicine
B1. Joie De Vivre
B2. Papa Hooper's Barrel House Groove
B3. Thrill Is Gone
B4. Raven Speaks
B5. Samba Chimba
• 2024 Record Store Day Exclusive
• Japanese Jazz
• Original released in 1973
• White Coloured Vinyl
Refined jazz. Well-crafted rock. Finely honed funk. Swallowing everything, a strong groove begins to run.
Since their formation in 1969, Soul Media has advocated a fusion of jazz and rock. This work, ``In the Groove,'' recorded in 1973, took this route to the next step. Bringing the sharpness of jazz to the fore, blending rock to give it an edge, and injecting funk to exude power and elasticity. They created strong, sophisticated, and simply "cool music" that could not be categorized into existing genres such as jazz-rock, jazz-funk, and fusion.
This work is said to be a response to The Crusaders, which Jiro Inagaki was paying attention to at the time. The aim was on point. With this work, Soul Media acquires a "sophisticated black feeling" and heads toward their final destination, "Funky Stuff.”
Text by Yusuke Ogawa (UNIVERSOUND/DEEP JAZZ REALITY)
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
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Post Industrial Boys - 1971
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Post Industrial Boys - Lilian
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Post Industrial Boys - Becky
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Post Industrial Boys - The Cook
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Post Industrial Boys - Flowers
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Post Industrial Boys - Strange
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Post Industrial Boys - I See
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Post Industrial Boys - When You are
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Post Industrial Boys - Dreams
After 8 years Georgian pioneer George Dzodzuashvili is back as Post Industrial Boys with a new album. It's his most personal record to date and opens up its own world: a world full of memories of a bygone time and observations so precise you almost feel like you are living and capturing them yourself with a Super8 camera.
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
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