MAGIC MIX

funk . soul . jazz . nu-jazz

WEEK STARTING 20 Oct

Genre pick of the week Cover of Instead by Collocutor.
If early 70s afro-tinted spiritual jazz is your bag, then this is a must! The music of Collocutor was composed by Tamar Osborn. Tamar plays woodwind and baritone sax for Emanative and is a member of The Fontanelles and the Dele Sosimi Afrobeat Orchestra. She is also part of Kelis'€™ live band, Dele Sosimi'€™s Afrobeat Vibration shakedowns, Africa Express and a host of other projects. Collocutor is: Tamar Osborn - baritone sax, soprano sax, alto flute; Josephine Davies - tenor sax; Simon Finch - trumpet; Marco Piccioni - guitar; Suman Joshi -€“ bass; Maurizio Ravalico - various percussion, Afla Sackey -€“ djembe and Ghanaian shakers (Magnus Mehta on various percussion in the group'€™s live expression). This debut LP, 'Instead' was produced by Emanative's Nick Woodmansey. The sleeve art is by Yohanna Alem and has been silk screen printed, hand stamped and numbered late into the night at On The Corner HQ.

The Budos Band

Burnt Offering

The Budos Band return with 'Burnt Offering'; a wild, booze-fueled ride of hazy riffs and take-no-prisoners horn lines that summons the occult - an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram.

'Burnt Offering' was recorded live in the studio, engineered and produced by Tom Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios. It was written at the band’s longtime Staten Island studio, where they’ve gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher.

The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti. “The Sticks” kicks off with a snarling riff seamlessly doubled on bass and guitar and unfurls into sludgy breakdowns and searing guitars.


'Loose Change' is a trip to the T&S vaults, the label dusted off the reels to some alternate mixes and previously unreleased songs from the SOTC sessions, including a little interlude featuring the one and only Lee Fields.

Michels has produced and co-produced many of the Truth & Soul releases including the new Lee Fields record, Emma Jean. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John. Loose Change is a glimpse into the early, early days of El Michels Affair.

This is a limited edition 1000 piece pressing for the world and for those that have been asking, yes, there are two new El Michels Affair records in the works.

10 years ago, Truth & Soul released its first full length record, 'Sounding Out The City'. It was also Leon Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination.

Leon Michels, who was 18 when recording 'Sounding Out The City' began, had just released 'Thunder Chicken', the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afro-beat, and 60s garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80s 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period.

Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labeled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date.


Bobbito García Y Su Álala

Park Pick-Up Player - Mark De Clive-Lowe Remixes

Alala Records is Bobbito Garcia’s current vinyl-only label, and third imprint in his 20 years of releasing forward thinking music on wax. His newest release “Park Pick-Up Player” features Kool Bob Love himself doing a spoken word piece inspired by Doin' It In The Park, the basketball documentary he co-directed. Accomplished producer Mark de Clive-Lowe’s remix gives the tune an up-tempo Latin-jazz flavour. “Park Pick-Up Player” has received airplay on eastvillageradio.com and massive club support from DJs Rich Medina (NYC), Sake 1 (San Francisco), and Suce Smash (NYC-Puerto Rico). Enjoy the track on the dancefloor, in your headphones, or on the sideline of a basketball court near you!

As one third of SA-RA Creative Partners Shafiq Husayn helped change the world, producing, writing and collaborating with a diverse cast of artists, from Common to Kanye, Jill Scott to J Dilla and Erykah Badu, the aspects of music that SA-RA helped reintroduce to hip hop and R&B can be heard today throughout the current musical climate. Citing the influence of the greats like George Clinton, Prince, Herbie Hancock and Jimi Hendrix, Shafiq's sky high level of quality and musicality is noted and admired all over the world.

Featurng Anderson Paak (formerly know as Breezy Lovejoy) "It's Better For You" is a typically bumpy-yet-smooth hip hop soul groove. Next up we have J Mitchell, aka Melodiousfly, applying quirky soul vox to the wonk-hop that is 'Re-Incarnation' - it was SA-RA that the wonky-hop term was created for I seem to remember. The Dove Society (a collective of artists, musicians and creative-minded individuals brought together by Husayn) drop 'Twelve', a more organic soul-jazz jam that channels the optimistic spirit of Sly Stone. There are instros of all tracks as well.

These are the first song lifted from forthcoming album 'The LooP', a project that includes collaborations with the likes of Hiatus Kayote, Thundercat, Miguel Atwood Ferguson, Fatima and many more. Due for release early 2015.


Nightmares On Wax

Car Boot Soul

George Evelyn AKA DJ EASE took four years to follow up "Smokers Delight", but it was worth the wait as he came up with another seductive LP full of downbeat delights and dreamy instrumental hip hop gems, which, as the title suggests, is a sample-heavy session for sofa-surfing. Includes the Ibiza sunset classic ‘Les Nuits’.

Nightmares On Wax

Smokers Delight

Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

If you don't own a copy of this LP, you should get one right now 'cos it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

FORMAT INFORMATION

2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

Nu Era

Nouveau Synthetic Compositions - CD+7" Edition

Limited edition eight track CD with bonus 7" single in a gatefold sleeve. Nu Era's last album 'The Third Adam' was noted as one of the most adventurous techno records of 2013 and had support from DJs across many genres. Marc Mac continues to expand on his Nu Era journey into soulful, funky techno with these 8 new compositions.


'Cabinet Of Curiosities' is a brand new, nine-track Pop Group compilation which kicks off with the fractured future-funk single 'Where There's A Will', described by Gareth Sager as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."

Next up is the unheard, original previously unreleased version of 'She Is Beyond Good And Evil', probably the band's most infamous song and more recently covered by St Vincent on the Jimmy Fallon show and throughout her 'Strange Mercy' tour. 'Cabinet Of Curiosities' continues with BBC John Peel session tracks 'We Are Time' and 'Words Disobey Me', and rounds up previously unreleased songs 'Abstract Heart' and 'Karen's Car', plus other alternative versions.

Mark Stewart describes 'Cabinet Of Curiosities' as being of similar status to a lost Pop Group album. The release will also be available as part of a limited CD box set (The Pop Group 'Curiosities') accompanied by memorabilia and an extensive 36 page booklet.

The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

The LP version is on 180g heavyweight vinyl version and includes a download card of rarities by The Pop Group.

FORMAT INFORMATION

LP Info: Limited grey vinyl pressing.

After spending over a year collating original singles, albums and previously unreleased studio and live recordings, the Pop Group have created a limited box set containing albums 'We Are Time' and the brand new compilation 'Cabinet Of Curiosities' + 36 page perfect bound book + bookmark + badge.

'We Are Time', named after one of their most infamous onslaughts was originally released on vinyl in 1980 a nd has been remastered from original tapes becoming available on CD for the first time and also reissued as limited vinyl. Of the early live and studio recordings that comprise 'We Are Time', frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

'Cabinet Of Curiosities', the nine-track compilation includes the fractured future-funk single "Where There's A Will," described by Sager [guitar] as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."
Also included is the original previously unreleased version of "She Is Beyond Good And Evil," probably the band's most infamous song. The set continues with BBC John Peel session tracks "We Are Time" and "Words Disobey Me," and rounds up previously unreleased songs, "Abstract Heart" and "Karen's Car," and other alternative versions.

The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

"It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" - Nick Cave on hearing The Pop Group for the first time.

The Pop Group

We Are Time

'We Are Time' was named after one of the Pop Group's most infamous onslaughts and originally released on vinyl in 1980, has been remastered from original tape s and available on CD for the first time and limited vinyl.

Of the early studio and live recordings that comprise We Are Time, frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

Guitarist Gareth Sager explains that the band was "trying in an inexplicably naive manner to combine Patti Smith's Rimbaud ramblings, James Brown, the Stooges, Roxy Music, T.Rex and classical aleatoric music. You can hear the results of this on tracks 'Genius Or Lunatic', 'Colour Blind', 'Trap', 'Sense Of Purpose', 'Kiss The Book' and 'We Are Time." He goes on to say "soon after this the band were bringing in other influences, Ornette Coleman, King Tubby, Funkadelic, Debussy, Jacques Brel, Fela Kuti, Steve Reich and then you get 'Thief Of Fire'."

The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society - indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

"It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" – Nick Cave on hearing The Pop Group for the first time.

FORMAT INFORMATION

LP Info: Limited red and white marbled vinyl pressing.

Gil Scott-Heron’s second album, “Pieces Of A Man”, showed that his collaboration with musical partner Brian Jackson was very special. Although not a hit, it was a big enough success to warrant a follow-up, but when the time came Gil was unsure. With more books than albums to his name, he thought his future may have been as a writer, but Brian Jackson and producer Bob Thiele convinced him otherwise, and in March 1972 “Free Will” was recorded.

The record’s first side comprised a set of songs that confirmed how well he and Brian Jackson worked together. The album’s masterpiece is ‘Did You Hear What They Said?’, one of the most effective evocations of war’s ultimate price. It was aimed at the conflict in Vietnam, but is as relevant today as when it was written. Other numbers seem to focus on the apathy or self-centred attitudes Gil saw in people’s actions. He was seeing the 60s dream turning sour and people standing idly by and letting it happen. It made for compelling art.

Gil’s literary side was represented on the album’s second side, which saw him return to the spoken-word poetry found on “Small Talk At 125th And Lenox”, his first LP. The new material seemed to find him angrier and more incensed by the world. He railed against apathy in society and misuse of power by the Nixon administration. He took white musicians to task for ripping off black American music throughout the 20th century, questioning why Elvis was more successful than Chuck Berry. The only let-up occurs in the final track, ‘…And Then He Wrote Meditations’, a considered tribute to John Coltrane.

FORMAT INFORMATION

LP Info: Vinyl pressing with authentic replica gatefold sleeve artwork.

CD Info: CD

Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Stevie Wonder's "Innervisions", Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer. “Pieces Of A Man” was contemporary music performed by great jazz players, directed and prompted by Scott-Heron and his collaborator Brian Jackson, who at the time was not yet 20 years old.

Scott-Heron had come to the attention of Flying Dutchman label owner Bob Thiele via World Books, the publisher of his first novel, The Vulture, and a small book of his poetry, Small Talk At 125th And Lenox. He wanted to record an album of music but Thiele could only afford to use percussion and spoken word. They titled the record after Scott-Heron’s book of poetry. One track in particular, ‘The Revolution Will Not Be Televised’, caught the zeitgeist, and the album sold well enough for Thiele to put Scott-Heron and Jackson back in the studio with a full band.

The resultant second album, “Pieces Of A Man”, containing a new version of ‘The Revolution Will Not Be Televised’, pushed Scott-Heron’s words to a far wider audience, and the song title became a catchphrase, an aphorism for political involvement. It was followed by ‘Save The Children’, ‘Lady Day And John Coltrane’ and ‘Home Is Where The Hatred Is’. These four songs became the bedrock of Scott-Heron’s career, with ‘Home Is Where The Hatred Is’ being covered by Esther Phillips on her LP “From A Whisper To A Scream”.

“Pieces Of A Man” has no weak spots. Scott-Heron’s lyrics never shy away from the political but are far from polemic. Instead they focus on the harsh realities of life. The title track, one of the most effective, looks at the uncaring nature of the workplace and the lack of value it puts on an individual. The story is developed with the brevity of great poetry, and long before it ends the listener is engrossed in its horror. It’s not all downbeat; ‘I Think I’ll Call It Morning’ rejoices in the need to face up to life, and how it can be worth it. 

Butterz Collective man Swindle follows his “Long Live The Jazz” with amazing new EP on Brownswood Recordings. Forget drum & bass, jazz & grime it's what's all about here!

With ‘Walter’s Call’, Swindle dives straight in at the deep end with sirens and footwork inspired drums, gradually building themes of energetic brass brilliance into the mix. Seamlessly produced, this sets the EP off to a blazing start, introducing the influences of early 20th century chaotic jazz, which run throughout.

‘Summer Fruits’ is a track that begins with a gentle and disarming piano tune, swiftly developing into a lively melodic combination of well delivered vocal samples and prevailing brass rhythms. It gets your feet moving and renders the feeling of an easy sunny afternoon, with smooth harmonious flows combined with bursts of energetic flare resonating his influences.

Disjointed classic house piano chords kick off ‘Smash N Grab’, which again carries Swindle’s distinctive bouncing sound. At one point calm, then at the next in full swing, it’s just as much of a roller coaster as the rest of this smashing EP.


Francois Tusques & Don Cherry

La Maison Fille Du Soleil

Cross-pollinating the wants lists of art / jazz / print and architecture enthusiasts this seldom sighted 45 single is regarded as the rarest “lost” recording by American jazz trumpeter and global communal music missionary Don Cherry as he collaborates with French piano improv genius François Tusques. A missing link in the pre-formative years of improvised jazz this mythical private pressing unites two of the key exponents of both American and French free jazz - two entirely independent musical art forms which by 1964 had yet to publicly entwine at the hands of bands like Art Ensemble Of Chicago, Sunny Murray, the Actuel magazine / label and Pan-African jazz festivals in the late 60s. This intimate recording was made to accompany an exhibition by pioneering Swiss / French architect Charles-Édouard Jeanneret-Gris (better known as Le Corbusier) held in Tusques own home town of Nantes.

Recorded in one sitting while the globe-trotting Don Cherry stopped off in France this record also marks the beginning of a musical journey which lead to releases in Germany, Italy and Sweden featuring collaborations with the likes of Komeda (Poland), Okay Temiz (Turkey), Joachim Kühn (Germany), the legendary Krzysztof Penderecki and directors Alexandro Jodorowsky and Jerzy Skolimowski. Here these compositions are lead by François Tusques adopting the Chinese whisper sound carrier techniques deployed in his music for the film Viol Du Vampire by Jean Rollin while sonically evoking other cinematic works by Komeda, Mal Waldron and Bernt Rosengren.

Housed in a two fold wrap-around sleeve identical to the original article this pocket document of a cross-continental jazz milestone also features a miscredited appearance by bass player Bernard “Beb” Guérin (BYG/Futura) and lays the foundations for Tusques’ imminent free jazz and le nouveau jazz LPs.

I first met Mark “Snowboy” Cotgrove in the early 1990s when I became his A&R man at Acid Jazz. Mark is an exceptional percussionist who led his band the Latin Section through a series of thrilling albums. I’d first heard of him a few years earlier when he released a version of ‘A Night In Tunisia’ on a new Ace Records subsidiary called BGP, so it is entirely appropriate that this compilation, a soundtrack to his club night in Soho, sees him back on that label.

Madame Jojo’s in an outpost of old Soho where Snowboy wears his DJ hat, is where he runs his weekly club night, the Good Foot. In the past, this centralLondonarea was known for its bohemian nightlife and shady characters. Most of that has gone now, replaced by modern life’s big brands and identikit shops, but step down the velvet-lined stairwell into Jojo’s subterranean space and you’re into a lost world where the music played by Snowboy and his guests keeps an audience of enthusiastic dancers glued to the club’s sunken dancefloor.

The Good Foot plays the best of 60s soul, R&B and latin with a touch of funk, and Snowboy always looks to find a perfect blend of classics and records that you are unlikely to have heard in a club before. Our compilation attempts to recreate the feeling of a night at the club, and features many of the tunes that have become signature plays there. Snowboy has been especially good at playing those previously unknown records that have been released on CD in recent years. These are represented by Etta James’ ‘Can’t Shake It’, the Contours’ ‘Do The See Saw’ and Luther Ingram’s outstanding ‘Oh Baby Don’t You Weep’. The 60s R&B sound is delivered by future Raelett Dorothy Berry with ‘I Say You’re Driving Me Crazy’, the Ikettes’ ‘Don’t Feel Sorry For Me’ and Little Willie John’s ‘Don’t Play With Love’. There’s storming mid-decade soul from Z.Z. Hill and James Carr, and the crossover into funk is handled by one of the night’s top anthems, Little Eva’s Motown medley ‘Get Ready/Uptight’. James Brown is represented by his mid-60s winner ‘Bring It Up’ and his production for the Brownettes’ ‘Baby, Don’t You Know’. There is a touch of latin from Mongo Santamaria and Hank Marr, and established classics such as Willis Jackson’s ‘Nuther’n Like Thuther’n’, the Dynamics’ mod favourite ‘Misery’ and the Shirelles’ ‘Boys’, one of the most visceral girl group records ever put to vinyl.


This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of 'There’s A Riot Going On'. 'I’m Just Like You: Sly’s Stone Flower 1969-70' opens up the mysteries of an obscure but monumental phase in Stone’s career.

In 1970, the Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, primitive electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves-and the words “written by Sylvester Stewart / produced and arranged by Sly Stone” on the sticker.

Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too - the imprint folded in 1971 - but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork 'There’s A Riot Goin’ On'.

The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts - the label’s highest showing. The follow-up, “Stanga," also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite," featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic "Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included).



Various Artists

Northern Soul: The Film Soundtrack 7" Vinyl Edition

    Harmless are proud to announce that we will be issuing the soundtrack to the film, “Northern Soul” directed by Elaine Constantine. Early viewings confirm that “Northern Soul” will be the most accurate portrayal yet of this legendary musical movement which started in the north of England in the late 1960s and has now spread around the world and become a huge international scene. Since 7” vinyl remains at the epicenter of this 46 year old scene with the original records still establishing world-record prices in collecting circles, we felt duty bound to issue a very special edition of the soundtrack on 7” vinyl. We’ve specially licensed all the Northern Soul tracks from the soundtrack plus one bonus track for 14 x 7” discs, all in pic-sleeves featuring key scenes from the film, together with a specially commissioned 60 page hardback-bound book of carefully selected film stills which has been painstakingly edited and re-touched by Elaine Constantine, the director of ‘Northern Soul’. A perfect collector’s item from what will be one of the most distinctive films of recent times. So, that’s 14 x unique 7”vinyl singles and a 60 page hardback book collection of unique stills from a unique film all housed in a solid collectors heavy-duty box. To be treasured forever. Needless to say, these 14 discs present 28 of the greatest Northern Soul classics of all-time, many of which are making their UK release for the very first time. Every one of these tracks has been a floor-filler on the Northern Soul scene throughout its history and many of the original U.S. releases still command a huge value. In fact the cumulative value of all the original pressings in the set comes to an astounding £35,260 (as valued by John Manship in July 2014). A ‘must-have’ purchase for anyone who is interested in British musical culture, U.S. soul music and collecting serious Northern Soul music on its original vinyl format!

    The mysterious Boogie Down Express return with more red hot edit business, this time expanded and extended to the 12" format. Four directs hits from across the musical spectrum on one fat and frisky hunk of wax. Getting the party started we have an instrumental edit (which does include vocals - go figure?) of Sheila B Devotion's camp-cosmic-classic "Spacer", a driving synth disco cut that's as Barbarella as it gets. This new version ditches some of the frillier, sillier motifs for a nonstop dancefloor wig out, top! Next we take the interdimensional portal from the Hi-NRG dancefloor of late 70s France to the tropical realms of Wally Badarou's synthetic world. "Endless Race" reshapes Badarou's uplifting island groove from his classic "Echoes" LP into an unrelenting club experience. On the flip we fly first class from the Tropics to Ghana to catch up with Highlife legend Charles Amoah, and his warm and smooth "Schratch My Back". This break heavy refix is gonna have everyone shaking their shit on the floor. And what better moment to drop a sleek groove bomb from the one and only Atlantic Starr, whose "Love Moves" gets given the dancefloor grope it always wanted!


    Following the label’s acclaimed ‘Next Stop Soweto’ compilation series, Strut returns to the rich music heritage of South Africa for another landmark compilation celebrating the influential and heavily political music of drummer Julian Bahula since the mid-60s with the Malombo Jazz Makers, Jabula and Jazz Afrika bands.

    Bahula’s first group was the Malombo Jazzmen, led by guitarist Philip Tabane with flautist Abbey Cindi and they broke the mould, introducing indigenous malombo drums alongside guitar and flute to create a strong new cultural jazz fusion. In 1964, the group took the Castle Lager jazz festival by storm, South Africa’s biggest annual jazz event.

    Within a year, Bahula and Cindi had parted company with Tabane, and guitarist Lucky Ranku had come on board to form the Malombo Jazz Makers. By the end of the 1960s, they had established themselves as South Africa’s foremost afro-centric jazz group. In 1971, they made a clandestine tour of South Africa with Steve Biko and TECON (Theatre Council of Natal) Players, using music and theatre to promote black awareness and identity as part of Biko’s Black Consciousness message.

    As the pressure of apartheid started to bear down on them, Julian Bahula escaped to political exile in the UK. He settled in London in February 1973 following a tour with white afro-rock band Hawk. Joined by Lucky Ranku shortly afterwards, Bahula formed a new afro super-group, Jabula, through which malombo music was transformed into a vehicle that could take a powerful political message from South Africa to audiences in Europe and across the world. The band worked closely and selflessly with the exiled ANC, the Anti-Apartheid Movement and other anti-apartheid organisations to help spread political awareness.

    Bahula and his wife Liza also started London’s first regular night to promote live African music at London’s 100 Club during the ‘80s. In ’83, they set up the first concert in the UK to raise awareness for Nelson Mandela, ‘African Sounds’, an event that helped to kick-start the international pressure that would lead to Mandela’s release in 1990. The Specials’ Jerry Dammers was there and was inspired by Jabula’s track ‘Mandela’ to write the huge hit for The Special AKA, ‘Nelson Mandela’.

    ‘Spirit Of Malombo’ documents Bahula’s incredible musical journey from 1966 to 1984 for the first time. Package includes rare photos, poster artwork and memorabilia with extensive sleeve notes from author Francis Gooding. The cover features a still from leading South African photographer, Ernest Cole.


    FORMAT INFORMATION

    2xLP Info: Double vinyl pressing in gatefold sleeve. Includes double CD version inside.

    Low-down and dirty jazz goes right back to the early 1900s in Storyville; after the bands had played their hot tunes in the evening for dancing couples, the musicians would head off to the after-hours joints and play a less energetic but more bluesy kind of music, enabling them and their late-night audiences to get through to the early hours of the morning without suffering total exhaustion. And nobody in New Orleans laid into the blues so low down and dirty as Buddy Bolden, whose Funky Butt became a staple in the repertoire of the city’s early jazz bands. Jacksonville, Florida, 1960. Charles ‘Hungry’ Williams mentors young Clayton Fillyau after he had just joined the James Brown band: ‘I don’t care where you put it on those drums, remember where ‘1’ is and you’ll never lose the time.’ Listen to Hungry on Huey Smith’s Talk To Me Baby and then listen to how Clayton turns it into a relentless breakbeat on James Brown’s I've Got Money. Earl King’s Trick Bag, prefiguring the Meters, is as good an example of early New Orleansfunk as can be found. Not everything on here was cut in New Orleans. New York singer Vernon Harrel’s Slick Chick is held together by an intriguingly syncopated bass line that hints at late ‘60s Studio One dub. And in case you think any of this was new, listen to Zutty Singleton’s drum break on Victoria Spivey’s Funny Feathers from 1929. Or Earl Palmer's sixteenth notes, off-backbeat snare accents and double-tempo hi-hats in 1953 on Professor Longhair’s Tipitina and Who's Foolin' You. (Palmer was the very first to describe a syncopated beat as ‘funky’).

    This year sees the 15th Anniversary of Tru Thoughts Recordings, the pioneering and innovative label from Brighton which won the coveted Gilles Peterson Worldwide Award for Best Label way back in 2005 and has continued to go from strength to strength, amassing a truly international roster and fanbase as well as mainstream acclaim. This double CD compilation - all compiled by A&R Robert Luis - celebrates the past, present and future of his thriving independent label’s eclectic and adventurous catalogue. The deluxe CD booklet also includes exclusive photographs and an in depth interview with Robert Luis and label co-owner Paul Jonas.

    This celebration of independent artistic talent encompasses the early leftfield electronica of Bonobo and Quantic’s trailblazing world explorations, to Alice Russell’s powerhouse soul and New Orleans’ iconic Hot 8 Brass Band; UK legends like Rodney P and Zed Bias, through to the stars of tomorrow with cutting edge production from Lost Midas, Titeknots and Werkha and the natural vocal prowess of Harleighblu. The double CD features some previously unreleased exclusives, including Wickaman’s D&B remix of the popular Wrongtom Meets Deemas J cut “Jump+Move+Rock”, and a new rework by Paul SG of Bonobo’s classic “Terrapin”.



    RT @kernowking123: #vinyl choice of the week #1 is ‘Caribou Our Love' a very welcome return @caribouband @PiccadillyRecs http://t.co/tw9Kbi
    Sat 25th - 4:30
    RT @ThePinkTeens: Just picked up a pretty nice re of Ned Doheny's 'Hard Candy' from @PiccadillyRecs so good
    Sat 25th - 4:29
    JUST IN: Various Artists - Roadside Edits Volume 1 / Eastbound http://t.co/Iw5Y1PDatv | https://t.co/9OCr7CKbTp
    Sat 25th - 2:19
    NEW TO PRE-ORDER: Glenn Branca - The Ascension / Superior Viaduct http://t.co/tXOcBRHLnO | https://t.co/9OCr7CKbTp
    Sat 25th - 2:01
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