Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

Housed in a tip-on sleeve. More

Preview: https://www.youtube.com/watch?v=-dg9UH9j2fo

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

As Dora explains, “Pique was an album made in motion and ended up being about just that. From the beginning, it was an album that sought to build new textures that are part of the sound landscape I envision ahead. And from these colours and textures, it builds bridges between a more traditional universe, sonically and poetically speaking, and a new perspective on songs.”

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic. More

One of London’s most loved underground parties, Tangent, celebrates its 10th birthday this year with a new compilation on Mr Bongo. Its residents, John Gómez and Nick the Record, have curated a selection of prized, rare and dancefloor-ready tracks that have soundtracked the past decade of their parties. Alongside remastered reissues of these original cuts, the CD version of the compilation also houses three incredible edits from Nick, John and Dan Tyler of the Idjut Boys. These were too good not to press onto vinyl, so we’ve given them the standalone 12" they deserve.

Contextualising their edits Nick states, “Tangent was not only the place for us to play the music we love the most, it also became the testing ground for our edits. It was really helpful being able to see the effect each of these had on a dancefloor before the records were released and many of them also became firm Tangent classics.”

Up first, Nick is joined by Dan Tyler (Idjut Boys), who he runs the edit label Record Mission with, for a furiously feel-good re-edit of Leo Basel’s ‘Quelle Drôle De Vie’. Basing their edit on the 1987 ‘Special Remix’, it does what any great re-work does, dropping the sections from the original that don’t quite hit the mark, whilst focussing on the gold in amongst it all. The result is a slice of peak-time, French boogie joy, that will warm even the coldest hearts.

John then joins Dan at the dials for a cosmic revamp of Love Isaacs 'Surprise Surprise'. A serving of ‘80s electro-funk, dripping in swagger with a highlife tinge. John and Dan extended the grooves for maximum dancefloor power, space echoing it into the stratosphere at all the juiciest points.

Lastly, Nick takes on Rick Asikpo and Afro Fusion 'Let's Get High' from the super sought-after 1980 album, Got To Be Me. Celestial, gospel-infused soul from Nigeria, Nick homes in on the energetic last 2 minutes of the original as the building block of his 12-minute edit. A completely reworked, feverishly paced creation, Nick switches the sections around, saving the slow, soulful segment for a brilliant cosmic breakdown before the track erupts back into its full flow. Synthesised, jazz-funk elation from start to finish!

Housed in a die-cut sleeve. More

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ (???3) and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share. More

Brazil 45, number 69.

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving repress.

Highlighted here, the joyous family flavours of Trio Ternura and a samba-funk masterclass from Eliana Pittman, cut loud and proud on either side of a seven inch.

First, we have the uptempo funk-soul sounds of ‘Vou Morar No Teu Sorriso’ courtesy of sibling group, Trio Ternura - taken from their self-titled 1971 LP. Comprised of sisters Jussara, Jurema and their brother Robson, this track is a real favourite of ours and a regular spin in our DJ sets. Tight drums, breaks and percussion lay the foundation for those jubilant vocals, funk-powered organs, punchy horns and grooving bass to transport you to sandier shores.

On the B side, a slice of dancefloor samba-funk-MPB radiance from Eliana Pittman with ‘Quem Vai Querer’. Originally released in 1977 on RCA, the rolling samba groove, layered percussion and lovely lead vocal from Eliana build into a carnival-flavoured chorus to lift even the lowest of moods. More

Brazil 45, number 74.

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving repress.

The late composer, arranger, musician and record producer Nonato Buzar is a lesser-known great outside of Brazil. His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian ‘60s and ‘70s music scene, including Evinha, Elis Regina, Wilson Das Neves as well as reggae legend Jimmy Cliff. The awesome organ driven dancer ‘Cafua’, with its zesty horns and sun-soaked vocal tones, is taken from Nonato & Seu Conjunto’s 1975 'O Som E O Balanço De Nonato’ album on Som records.

Most famed for his ultra rare 1973 track 'Lotus 72 D’, which Mr Bongo reissued in 2019, José Roberto aka Zé Roberto’s other 7 inch from the following year, also held a gem within its B side grooves. 'Crioula Multicolorida’, though not as scarce as ‘Lotus 72 D', is still a super hard record to track down and is equally as great. This anthemic ‘samba rock’ pearler, with its amazing breakdown and strutting groove, has long been a favourite amongst Brazilian DJs and collectors. The track also featured on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo. More

The fertility of the Cuban music scene in the 1970s was rich and blooming. FA-5’s self-titled album from 1976 is a perfect example of the energy and vitality emanating from the country’s musicians and marks the next release in Mr Bongo’s Cuban Classics series. A unique musical fusion that encompasses Latin rock, funk, soul, disco and Afro-Cuban rhythms to form a diverse and alluring album.

The exquisite, funk-fuelled opener, 'Muevete Con Las Fuerzas Del Corazon', is maybe the most-known song on the album. It is a super catchy cut powered by a dynamite bassline, joy-filled horn playing and splashes of drum breaks that will ignite any dancefloor.

The record surfs through genres as it progresses. 'Di Tu Que Haras Sin Mi’ and 'Paso Sin Mas' lean back with a West Latin rock / AOR flavour to their grooves. Elsewhere, the dreamy, cosmic, Balearic-tinged 'El Blue' and fuzzy funk-rock breaks of 'Pero Lo Cierto Es Que No Quise Mas' further show the breadth of styles at play on the LP. Another big highlight on the album is the Latin, disco-funk sounds of 'Casa De Ladrillo', which morphs into a cover version of the Commodores 'Brick House'. The result is a superb alternative take on a much-loved classic.

Released on the state-owned Areito Records, the album was directed by Nestor Caballero, who arranged the songs alongside Aneiro Taño and Osvaldo Caraballoso. The prolific Tony Taño produced the album with the recording courtesy of Tony Lopez who worked with Juan Pablo Torres, Los Reyes 73, Grupo Los Yoyi, Raúl Gómez and many other Cuban greats that we have featured in the Cuban Series.

A fabulous, under-the-radar classic, that will enrich any collection.

Featuring replica artwork, the vinyl release is presented with a Cuban Classic Series OBI Strip. More

When she started her career just over a decade ago, Cleopatra Nikolic AKA Cleo Sol was considered a singer-for-hire within the international deep house community. Now, with the assistance of beat-maker Inflo, she's decided to strike out on her own via a quietly impressive solo debut that re-casts her as a genuinely fresh and exciting soul talent. Beginning with the layered acapella vocals and deep, jazzy grooves of stunning opener "One Love", the album sees her brilliantly deliver heartfelt and thoughtful lyrics over hazy backing tracks that brilliantly join the dots between jazz, neo-soul and R&B. While she's undoubtedly the star of the show, Inflo's stripped-back, partially acoustic and largely soft-focus production is also worthy of high praise. More

We'll jump at the chance to talk about anyone affiliated with the mysterious SAULT collective. One of their most prominent voices, Cleo Sol, has here teamed up with her longtime producer friend Inflo for her second album, 'Mother'. This 12-track LP spans neo-soul, jazz and folk, and chronicles Sol's turbulent transition into motherhood. Across solitary ballads like 'Sunshine' and radiant folk dirges like 'Know That You Are Loved' and 'Promises', this album sounds purer in contrast to her debut 'Rose In The Dark' More

Alongside the widespread success of Sault, we've been able to bear witness to the continued rise of core member Cleo Sol as a standout voice in the vanguard of UK soul. Following her two previous albums Mother and Rose In The Dark, Sol stretches out once again with an arresting collection of neo soul, folk and more. Everything is cast in warm, rich tones, from the acoustic lilt of 'Airplane' to the dusky bump of 'Go Baby', but it's the strength of Sol's vocal presence which binds everything together so perfectly. Truly capturing the best of modern soul with wholly justified comparisons to Jill Scott, Erykah Badu and D'Angelo alike, this stunning album has future classic written all over it. More

Cleo Sol's arrival in the past few years has been one of the best things to happen to UK soul music in a long time, and she's gifted us two of her outstanding albums in the past 12 months. While ears are reeling from the wonder of Heaven, we're now treated to Gold and it's hard to fathom how so many incredible songs can spill out from one person. There's a dusky, understated quality to this album which makes it so easy to sink into and even in the most stripped down arrangements you can sense the guiding hand of dub giving the music a womb-like intimacy. The playing has a raw, in-the-room immediacy and it flows so naturally it wouldn't be a surprise to learn it was recorded in one take. More

"This landmark compilation continues the unfoldment of diabolically obscure yet culturally and artistically essential recordings that have been hidden and precariously balanced on the precipice of obsolescence."

For German musicians the mid-70s to mid-80s were an extremely fertile and fruitful time. Though The Peace Chant series is focused mainly on amateur bands, private pressings, and long lost acetates, many of the artists included here nevertheless made their mark upon the German and world music scene and even played with many of the giants of the movement.

As the 60s were coming to a close, many German musicians began experimenting with fusing jazz, rock, pop, electronic, and world music with a harder, more aggressive sound. The resulting movement, originally called "kosmische music" or "cosmic music" would give way to the kaleidoscope of sounds now known as Krautrock.

Many labels and compilations, not to mention reissues have been focused on this moment and in many ways, today, there could be said to be a global revival in the art form by younger, modern bands. But this is where Tramp Records, always peeking behind the curtain, has decided to take "the road less traveled" as we trust them to do. This edition of the Peace Chant series explores the artists that, instead of going full steam ahead in the rock and world music direction, decided to play the role of 'spiritual advisor' to the movement and continue building a legacy of jazz and pop infusions to their more rock-oriented counterparts. Of course, there may not have been much commercial appeal of these recordings and many of them fell into obscurity. But it is thanks to the tireless efforts of Tramp Records that we are able to catch a glimpse of what undoubtedly the Giants of the genre at the time were already well aware of and likely being influenced by. As you will see, many of the artists in this compilation went on to become music teachers and mentors in their own right and surely influenced the course of music history in Germany. Now their stories are finally being told. And though the music is amazing on its own, it is truly astounding when cast in its historical context. This landmark compilation continues the unfoldment of diabolically obscure yet culturally and artistically essential recordings that have been hidden and precariously balanced on the precipice of obsolescence.

For the first time ever, Tramp Records is proud to present an "all German" artists version of the Peace Chant series, including liner notes printed in German exclusively with an English translation downloadable.

~Joel Ricci (August 2024)

Key selling points:
- deluxe double-gatefold LP containing detailed liner notes & unpublished photographs
- incl. full album download code
- ALL songs appear on LP for the very first-time More

Longtime label friend and supplier of numerous edits, "Voodoocuts", teams up with "Matasuna Records" again for a new officially licensed 45. This time he puts his hands on two disco gems by the South African band "The Movers", one of the most important South African bands that shaped the country's music scene from the late 1960s to the early 1980s. The songs "Soweto Disco" and "Shanana" from the late seventies get the Voodoocuts treatment with his typical precision and attention to musical detail. The fusion of South African music with international influences such as jazz, funk and disco is an explosive mix and a secret weapon for every record bag.

Voodoocuts kicks off the single with his stunning edit of "Soweto Disco". The original is already extremely infectious and energetic, with a grooving bass, opulent horn sections, wild organ parts and a relaxed reggae vibe. But Voodoocut manages to give the song an extra kick with his skillful rearrangement, drumming and the addition of loops, filters, effects and samples. The edit effortlessly takes the song into the present to deliver a killer cut for the dancefloor.

On the flip side, "Shanana" is another delicacy from the band's later creative period. Although the mood is more relaxed, it's a wonderful song with its distinctive bass and guitar lines, as well as the great organs that are always present. Voodoocuts Edit builds up the song slowly to give the instruments enough space to unfold. A wonderful jazz-funk tune with a disco touch, enhanced by the Voodoocuts treatment.

Artist info:

The story begins in the turbulent townships of South Africa in the 1960s, when unknown musicians and brothers "Norman" and "Opa Hlongwane" approached "Kenneth Siphayi", a wealthy businessman, with the idea of supplying them with musical instruments in exchange for a share of live performances and record sales. Siphayi agreed and even became their manager, providing them with a rehearsal space and an organist. This was the beginning of the band "The Movers", whose name was also given by Siphayi.

The Movers developed a unique sound that combined traditional South African rhythms and melodies with influences from American soul, jazz and funk. Their sound was both danceable and emotionally profound. Inspired by the challenges and hopes of everyday life in the townships, their music took listeners' hearts by storm. Their energetic performances and catchy melodies quickly made them one of the most popular bands in the country. This was reflected in the sales of their first album, "Crying Guitar", which sold over half a million copies in the first few months after its release.

But their music was more than entertainment; it was an expression of the hope and resistance of an entire generation. Despite their immense popularity, The Movers, like many other black artists in apartheid South Africa, faced many challenges: Segregation, censorship, and limited opportunities to bring their music to a wider audience. However, they overcame these challenges. Their song "Soweto Inn" even became the soundtrack for the student revolts of the mid-1970s.

However, the band also experienced repeated upheavals due to a change of band members and the dismissal of their manager in 1976. The gap was filled by the producer, who took a more active role in the band's musical direction. By the end of the 1970s, none of the original members were still active and the musical landscape in South Africa began to change. The emergence of new musical styles and political pressure from the apartheid government presented challenges to the band. Despite these adversities, The Movers remained active, recording new music and proving their adaptability and creativity.

Even after their active time, the legacy of The Movers has remained alive. Their music is still listened to and appreciated today, and they are considered trailblazers for many musicians in South Africa. More than just a band, The Movers were a voice of hope and cultural expression in a difficult time. Their music remains an enduring symbol of the strength and spirit of South Africa. More

Tracklisting:
A1. Painted Paradise
A2. Funky Motion
A3. Breeze
A4. Scratch
B1. Funky Stuff
B2. One For Jiro
B3. Gentle Wave
B4. Four Up

Release Info:
(clear green color vinyl / LP with OBI, originally released in 1975) 2024 pressing Japanese Import of the Japanese Jazz-Funk classic. Features a cover of “Funky Stuff” by Kool & The Gang. All songs written and arranged by Hiromasa Suzuki

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.


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