With two albums, an EP featuring vocalist Shiran Tzfira, and five highly collectable 45s under their belt, Sababa 5 have established themselves as trailblazers in the global grooves scene alongside the likes of Altın Gün, Yin Yin, and Misha Panfilov. Garnering support from esteemed DJs and institutions such as BBC Radio 6, Radio Nova, Songlines, and Star Wax, the band’s innovative fusion of diverse musical influences continues to captivate audiences worldwide.

“Bezani” transports listeners on a sonic journey with its electric synths and percussion-fueled 6/8 rhythm. Drawing inspiration from early electronic sounds and Persian folk, the track creates a mesmerizing atmosphere that pushes the boundaries of genre blending.

On “Ashkamoni”, Sababa 5 showcase their versatility with a rockier feel infused with a rocksteady swing. The track’s captivating melody builds dynamically, while the lead guitar and synth engage in enthralling solos, demonstrating the band’s exceptional musical prowess.

Sababa 5’s collective experience backing a wide variety of international artists has no doubt driven their tight sound and ability to seamlessly fuse genres. With influences ranging from the world renowned Funk Brothers, Wrecking Crew and Daptones, to Middle Eastern psych, the band effortlessly blends diverse musical elements into their distinctive sound.

“Bezani” and “Ashkamoni” mark another milestone in Sababa 5’s musical journey, further solidifying their reputation as innovators in the world of psychedelic groove. Fans and music enthusiasts alike can expect to be enthralled by these latest additions to the band’s impressive repertoire.

TRACK LISTING

1. Bezani
2. Ashkamoni

Shay Hazan radiates with musical diversity on 'Wusul وصول', His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album, 'Wusul وصول'. This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences.

Hazan's debut solo album for Batov Records, 'Reclusive Ritual,' unveiled a fresh musical realm. It introduced the guimbri, a three-stringed camel-skin-covered bass plucked lute used by the Gnawa people of Morocco, to a landscape of jazzy horns, synths, and laid-back hip-hop beats.

The album garnered support on BBC 6 Radio Music and earned Hazan a mix on the Huey Show. With over two four- 'لوصو star reviews, Songlines magazine dubbed it "groovy," while Mojo magazine described it as "hypnotic." 'Wusul builds on this legacy, offering a broader sonic palette, enhanced organic instrumentation, a lighter atmosphere, and elevated production values.

The album's enigmatic title, 'Wusul' (Arabic for 'arrival'), celebrates the expected birth of Hazan’s first born child, expected to arrive around the same time as this album. Fitting, given that the latter is the result of a transformative phase in Hazan's career, with many of the album’s songs evolving and taking shape during live performances. Most notably, a majority of the musicians featured on 'Wusul لوصو' are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable.

Standout track, “Sunflowers”, featuring the exceptional Nitai Hershkovits on keys, showcases Hazan's prowess on guimbri, guitar, percussions, and synths. This mesmerising composition, recorded by Hazan himself, seamlessly weaves together a diverse array of musical elements, resulting in an uplifting and danceable masterpiece.

On “A Walk In Dir El-Assad”, Hazan invites listeners with him to the small Arabic village of El-Assad, where at night the air is full of sounds of music emanating from multiple weddings. Over a cacophony of percussion, live drums from Shahar Haziza, and Hazan’s earthy guimbri-led basslines and gritty guitar, Eyal Netzer and tenor sax and Roy Zuzovsky trade solos and harmonise over the melody.

Delivering one of the heaviest grooves on the album, “Vibe jadid” commences with the distinctive percussive sound of krakebs, large iron castanet-like musical instruments, primarily known for supplying the rhythmic aspect of Moroccan Gnawa music, before the earthy guimbri bassline hits, accompanied by a half time hip-hop-like kick drum and clap. Triumphant horns ring out the anthemic melody, offset by otherworldly synths.

Shay Hazan's creative process reveals a cross-cultural narrative influenced by his extensive travels, from Central America to Japan, where he encountered the rich tradition of Gnawa musicians in Tel Aviv. The album includes a fascinating tune named “Shimo Kitazawa”, inspired by a Tokyo neighbourhood, as well as other tracks infused with the global vibes that have touched his musical soul. Dedicated compositions like “Dew” and 'Yooltz” pay homage to the friends and musicians who helped shape this album. Opener “Dew” is a nod to trumpeter Tal Avraham, who contributes a hypnotising solo. “Yooltz” is a loving tribute to tenor saxophonist Eyal Netzer, who contributes a soulful solo to the song, adding a distinctive layer of brilliance to the album. The Afrobeat leaning “Oladipo”, on the other hand, is dedicated to the late great drummer, musical director of Fela Kuti's band legendary Africa '70, and pioneer of the sound, Tony Allen.

Hazan utilises synths to create an eerie atmosphere on “Street Souls”, inspired by the characters who frequently inhabit the streets around Hazan's studio, sharing insightful comments from time-to-time. The slim wall of separation, provided by his machines and studio walls, from the junkies and prostitutes outside is emblematic of the slim divide between his privileged existence and theirs. This urban tension continues on album closer “Riff Raff”, taps into the tumultuous undercurrents of social movements and demonstrations, injecting a sense of urgency into the album's diverse tapestry, with its jolting groove. Shay Hazan's journey continues as he embarks on a series of international performances, including the Jazz Jantar Festival in Dansk, Poland, and the Tel Aviv Jazz

Festival. He has recently captivated audiences at the prestigious Jazz in the Park Festival in Romania and the Jerusalem Jazz Festival. His music transcends borders, uniting listeners worldwide in a vibrant celebration of sound and culture.

'Wusul لوصو' is an introspective journey through the intricate tapestry of musical influences that have shaped Shay Hazan's unique sound. While Western and Mizrahi pop have left their marks on the record, they serve as threads in a larger, more intricate musical fabric. Hazan's profound exploration transcends traditional boundaries, weaving together a rich sonic tapestry that defies easy categorization.

TRACK LISTING

1. Dew
2. Oladipo
3. A Bite Of Sand
4. Sunflowers
5. A Walk In Dir El-Assad
6. Yarabi
7. Shimo Kitazawa
8. Yooltz
9. Vibe Jadid
10. Street Souls
11. Riff Raff

Batov Records’ Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger.

Featuring the tracks “That Rainy Down” and “Coral Sex,” the EP showcases Eje Eje’s unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side “That Rainy Down,” The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier “Coral Sex”, which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, or even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, “there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert.”

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

TRACK LISTING

A. That Rainy Dawn
B. Coral Sex

Sababa 5 have demonstrated their special blend of Middle Eastern psych, funk and disco over a course of eights 45s for Batov Records, a collaborative EP with singer Shiran Tzfira, and an acclaimed self-titled album, receiving plaudits from the likes of BBC radio legends Gilles Peterson and Gideon Coe. Hot off the back of extended instrumental faze, covering their self-titled debut album, that drew comparisons to the Menahan Street Band, and a pair of essential 45s overflowing with funk, Sababa 5 hit the studio to cut a pair of killer songs with Turkish synth, electro and alternative pop sensation Canay Doğan. Currently a member of the Jazz Department at Istanbul University, Canay has been releasing her own songs since 2021. Known for her versatility not only as a singer but across keyboards, drums and percussion, she can be seen accompanying many artists on vocals and keyboards. The collaboration came about after Canay heard Sababa 5’s “Nasmusa”, delving deeper and noting the similarities with Turkish music she reached out to suggest they work together. Compounded by Sababa 5 already having a presence in Turkey, it was meant to be. Dreamy and melancholic synths meet gritty funk rhythms on “Bigâne”. According to Canay, the song addresses issues around depressions about the relative meaninglessness of life, the emptiness of so many questions and answers, and the “variability of the truth”. The urgent music of “Namdar” backs a paean to the fakeness of most friendships, and empty daily questions such as “how are you?”, and how many socalled friends are in truth jealous and bitter. The deep and searching questions of Canay’s lyrics give weight to the beautiful vocals that almost float over Sababa 5’s compelling grooves. “Bigâne” and “Namdar” add another deadly string to Sababa 5’s bow and are essential grooves destined for DJs’ 45 boxes and discerning listeners’ playlists.

TRACK LISTING

1. Bigâne
2. Namdar

Sababa 5, Tel Aviv’s funkiest export, upgrade their signature Middle Eastern psychedelic funk with the addition of Hoodna Orchestra’s dynamic brass section, another essential 45 from Batov Records’ Middle Eastern Groove series.

Labelled by the likes of Truth & Lies as a “serious contender in the world of instrumental funk”, Sababa 5 have created a modern sound, fusing funk, disco, and psychedelic rock with a wide range of Middle Eastern influences, culminating in last year’s acclaimed self-titled debut album, Named after their new studio address on the border of Jaffa and Tel Aviv, “Eilat 22” & “Elifelet 23” spring from the same sessions that delivered us the enormous ‘Funk #1 / Funk #2’ 45, as championed by the Nostalgia King, Skeme Richards, BBC Radio 6 Music host, Huey Morgan, and influential music portal, Music Is My Sanctuary.

Sababa 5’s tight-as-ever instrumental grooves are enriched by the bright bass sounds of The Hoodna Orchestra brass section, comprising Bar Ashkenazi on trumpet, Eylon Tushiner on tenor, and Elad Gelert on baritone saxophone. Hoodna are renown for their energetic take on Afrobeat, and have been touring and recording recently with Ethio jazz legend Mulatu Astatke, and here they supply a touch of JB’s meets Africa ‘70 energy.

On “Eilat 22” the Sababa 5 rhythm section of Raz Man on drums and Amir Sadot on bass is in full funk force, supporting a vibrant hook from the Hoodna brass section, leaving room for solos from guitarist Ilan Smilan and synth mage Eitan Drabkin, full of Middle Eastern flavour.

On the flip “Eiffelet 23” grooves along like a Dap Kings funk nugget, except in this case there’s room for Eitan to improvise across the jam with a microtonal organ sound reminiscent of legendary Egyptian musician Magdi el- Husseini.

TRACK LISTING

A.Eilat 22
B. Elifelet 23