An improvisational musician, composer and poet, Titi Robin has travelled extensively since the early 1980s – from Brittany
to Catalonia, India to Morocco – crafting his own musical aesthetic. Throughout his journey, he has built bridges between
his native Anjou, where he still resides, and the Gypsy cultures of many lands. Neither a compilation nor a mere summary,
this selection offers a certain perspective on his body of work, which has earned him praises by luminaries like Peter
Gabriel or Brian Eno.
Despite his many travels, it would be a mistake to view Titi Robin as an explorer of the "elsewhere". While he plays the
guitar, the bouzouq, or the oud, he does not seek to imitate a Gypsy, Syrian, or Greek style; rather, he plays in a voice that
is uniquely his own—a syncretism of his personal journey, from his teenage years playing at Moroccan community
celebrations to his collaborations with Gypsy musicians from Southeast France and India. In Angers, in the Roseraie
neighbourhood, he was immersed in the rhythms of Moroccan chaabi from an early age. Later, he frequented the gypsy
neighbourhood of Saint-Jacques in Perpignan. These encounters nourished an aesthetic territory he likes to call ‘Titistan’,
which includes Perpignan and Rajasthan. He views Mediterranean culture as "a bridge, a crossroads, a network of longstanding links woven between North and South, East and West." In this selection, you will hear the palmas marking the
compas of the Catalan rumba; strings enveloping the melody of the bouzouq, answered at times by the clarinet or the kaval
flute popular in the Balkans and Anatolia.
Produced between 1993 and 2011 these songs have been fully remastered and are presented here for the first time on vinyl,
with extensive liner notes.

TRACKLIST:
A1 - L'aube impatiente
A2 - Mehdi
A3 - Lovari
A4 - Kicsi Kicsi Kém - Nu No. 1
B1 - La Petite Mer
B2 - Ma Gavali Rumba
B3 - Memed Ve Seyrane
B4 - Janna
B5 - Sandhya

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In Paris, a creative force of artists molded the cultural identity of the Malian diaspora, infusing the city’s eclectic mix of sounds with their own rich heritage. At the heart of it all was Gaye Mody Camara, a towering figure in Malian music and culture since the late 1970s. Born in Abidjan and raised in Kayes, he grew up fascinated by the rhythms of Wassoulou, steeped in the rhythms of a land shaped by diverse ethnicities and traditions, including the Peul, Bambara, and Dogon. His migration to Paris didn’t sever these ties; instead, it amplified them.

Camara’s entrepreneurial spirit took root early, first in the markets of Paris, where he sold kola nuts and wax fabrics, and later as he built a reputation as a producer and distributor of West African music. Working between Paris, Bamako, and Abidjan, he captured music from artists hailing primarily from Mali and neighboring countries such as Senegal, Mauritania, Guinea, Ivory Coast, Burkina Faso, and occasionally The Gambia. Whether flying musicians to studios in Bamako, Abidjan, or Paris, Camara’s productions bridged continents, preserving the sounds of home while documenting the voices of an ever-shifting diaspora.

Where Wagadu Grooves: The Hypnotic Sound of Camara 1987–2016 focused on the sounds of the Soninke, Wagadu Grooves Vol.2 delves into the entirety of Camara Production’s vast catalog, shining a light on the syncretic sounds that resonated through the streets of Montreuil, Saint-Denis, and the numerous migrant housing centers around the city. Here, Malian musicians carried with them the rhythms of Wassoulou, from the traditional harvest dance sogonikun, to djaga, didadi, and sumu, the joyous, female-led celebrations rooted in Mali’s pre colonial traditions.

Yet these were not merely echoes of the past; the city’s gritty undercurrent shaped these soundscapes, blending the hypnotic plucks of the kamélé ngoni, and the rhythms of the djembé with heavy autotune, drum machines and synths, funk arrangements, Afropop, Afro-Zouk, Rap, and even proto house.

Through its 12 tracks originally released on cassette tapes or digitally, Wagadu Grooves Vol. 2 brings to life these rich and diverse sounds, honoring the vision, creativity, and business savvy of Gaye Mody Camara, whose five-decade long career has shaped the sound of Malian communities in Paris and beyond.

A1 - Souley Kanté - Bi Magni
A2 - Doussou Bagayoko - Taman
A3 - Abdoulaye Brévété - Faalé Mokoba
B1 - Djelikeba Soumano - Tougharanke
B2 - Kankaba Sakho - Foty
B3 - Soninkara - Tamajoujou
C1 - Bande Koné - Togo
C2 - Lassana Tamoura - Lassana Boubou N’kana Ké Kiye
C3 - Mamadou Mariko - N’diaye Sylla 2014
C4 - Aïchata Sidibé - La Vie Est Si Belle
D1 - Adja Soumano - Dja-Dja
D2 - Mah Kouyaté N°2 - Bani

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TRACKLIST:
A1. Raising Sun in Bali
A2. Los Angeles
A3. Blue Theme
A4. Chamonix
B1. Krazy Kat
B2. Funky Ghost
B3. Back To Amazonia
B4. Birds Of Space

French multi-instrumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways that he
approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to
fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist
politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les
Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores,
with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian
Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their
compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really
explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering
prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktï. Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but
with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early
age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly
mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair
with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he
once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his side,
even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of
expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation
itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious
approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s
work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2
album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work
and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

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In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.

The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.
The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.

TRACKLIST:
A1. Indicativo
A2. Estin
A3. Po Ka Ta Bida Lagartu
A4. Lua Kata Kema
A5. Dispus Ke E Lebal
A6. Tiu Bernal
B1. Na Kolonia
B2. Mindjeris De Panu Pretu
B3. Pintcha Kamion
B4. Pena De Galiña
B5. Amigo s Cabali



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1977, Paris France. Two brothers freshly arrived from Casamance, the Senegalese ‘Florida’, are living the tough immigrant experience. Their plan: becoming pop stars. A challenge so ambitious it sounds like science fiction at the time: Bob Marley, Fela Kuti and a handful of others artists have started making waves in the Western World , but the rise of the Pan-African sound is still at an early stage. The Touré brothers have formed a band, written some songs, and start frequently playing their music live, to great effect, at an underground theatre called the Dunois in the 13th Parisian district. The hype starts spreading. Overcoming the odds, their parents' ban on playing music ("a satanic activity"), the death of their brother and mentor Amadou and a stint in a Mauritanian prison, they will ultimately reach stardom a few years later under the name Touré Kunda (The Elephant Family). A legendary 40-year career will follow: 16 albums released, millions of records sold, numerous world tours, awards and collabs with the likes of Manu Dibango, Talking Heads, Carlos Santana, Bill Laswell, Alpha Blondy, Bernie Worrel … Released in 1979, self-financed by loans from friends and allies, Mandinka Dong is the genesis of Touré Kunda, the cornerstone of the band’s unique sound, at the crossroads of Disco, Funk, Pop, Reggae, Portuguese, Guinean, Cuban, Zairean, Mandinke and Soninke music. Limited to 700 copies and very difficult to find in decent condition, the original pressing faded into oblivion for decades. A low-resolution digital version of the album started circulating in recent years, not doing justice to the rich analog sound of the recording. It is an honour for Secousse and Hot Mule Records to present a complete reissue of Mandinka Dong. Faithfully restored and remastered, it will be available in both digital and physical formats

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