BBE Music: Recent Episodes
BBE Music
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Founded in 1996 by Peter Adarkwah, Barely Breaking Even (BBE Music) started life as a London club night, taking its name from the eponymous Disco record by the Universal Robot Band.
The label grew from the vibrant early 90's club scene with its first release, Stop & Listen compiled by Dr Bob Jones in 1996, opening the door to iconic series' such as All Back To Mine & Late Nite Tales.
A tonne of releases followed, ranging from Disco to Funk, Jazz to House. In the year 2000, the label celebrated Masters at Work's 10th Anniversary with a mighty box set that featured near 80 tracks.
A year later BBE Music spawned the Beat Generation Series of artist albums, notably introducing J Dilla (Welcome 2 Detroit) & a young Will.I.Am's first solo outing, alongside DJ Jazzy Jeff, Madlib & DJ Spinna, all of whom contributed to this seminal set of long players.
A quarter of a century and well over 500 titles later, having worked with Mark Ronson, Roy Ayers, Questlove, Hugh Masekela, DJ Premier, Dimitri from Paris, Joey Negro, Kon, RZA, Laurent Garnier, Black Coffee, DJ Shadow, David Rodigan and John Morales among many others, BBE Music looks to the future, celebrating its rich heritage while continuing to release a bounty of fresh titles.
The label’s most recent projects include an expansive reissue series from pioneering Nigerian label Tabansi, new imprint ‘Batakari’ in association with Boddhi Satva and the critically acclaimed ‘J Jazz’ Japanese Jazz multi-album project, not to mention the recent landmark 500th label release: a brand new version of 'Barely Breaking Even', featuring Leroy Burgess, Patrick Adams and Louie Vega.
In 2021 BBE Music is celebrating its 25th anniversary. To mark this milestone, the label is offering up some special projects, from the 20th Anniversary edition of J Dilla’s ‘Welcome 2 Detroit’, through David Bowie tribute album ‘Modern Love’, to a special new ‘Worldwide’ compilation from old friend Gilles Peterson. BBE Music will also be looking to the future with more exciting original artist projects, plus merch collaborations events and more...
Taken from Solina, Promised Me Love is the second single to come from the album and is an amazing showcase for the collaborative and synergistic ethos it comes from as well as the trio of Allysha Joy, Hidden Spheres and Finn Rees who created this originative music.Promised Me Love is a song that encapsulates the emotions of falling for someone; of how it feels like chasing the wind as you dance together, the need to know that they feel the same as you, the feeling that distance can seem wider, about how you need them to be thinking about you as much as you do about them, about the need for the promise of love even when they cannot make that promise.The trio of Joy Spheres Rees are all established artists in their own right, with solo and collective credits over the past decade . Firstly as part of the burgeoning and increasingly important scenes in Melbourne/Naarma, Brisbane and Sydney and as global artists with releases on hugely influential labels. Many will know of their work with 30/70 Collective and Close Encounters, amongst others, and many will have experienced their musical creativity on festival line-ups including Gilles Peterson's We Out Here.Promised Me Love comes out on BBE Music as a digital release and is taken from the album Solina.CHECK OUT THE FULL ALBUM HERE - https://orcd.co/promisedmelove
Coming as one of two singles to be taken from Natalie Slade's Sampology produced album Molasses, Unquenchable Craving is an excellent slab of Australian neo-soul which highlights very well the album it is taken from.With Sampology's production complementing Natalie's distinctive vocal style, Unquenchable Craving is a track where a heavy bass line and an infectious drum break laying the ground work for keys and vocals to interweave in a fusion of future soul, jazz and folk.As well as Sampology on production duties the album, Molasses, also features additional production from Dan Kye along with The Dieyoungs on keys and Laneous on guitar to create an album which blends Antipodean and UK talent in a glorious ten track future soul feast.With 'Molasses' releasing as a vinyl and digital 'Unquenchable Craving 'is an excellent showcase for the album and a compelling stand alone track in its own right.CLICK HERE FOR A LIST OF STORES AND SERVICES: https://orcd.co/unquenchable
Featuring the combined talents of Allysha Joy, Hidden Spheres AKA Tom Harris and Finn Rees the single ‘Trust the Feeling’ is the first release from the trio’s upcoming album Solina and is a track that gives us a very real insight into the Balearic House, Street Soul, Alternative RnB and Jazz influences that interweave throughout the album to create a musical landscape that speaks to the heart, spirit, body and mind with intention.Trust the Feeling is a track that persuades us to slow down to make love, to make sense of yourself, to be in connection to others, in connection to life, an intimacy with all things, as a way of moving with closeness and in deep breath, where light touches and draws us closer.All three artists have an amazing musical pedigree having between them worked as part of such innovative acts as 30/70 Collective, Close Encounters and on numerous collaborations with bands, artists and producers from across the globe. All have had releases on highly regarded international and independent music labels and have played and appeared on major festival line-ups including We Out Here.Trust the Feeling is the first digital single release on BBE Music from the Joy Spheres Rees album, Solina, upcoming on vinyl and digital.CLICCK HERE TO PURCHASE THE FULL ALBUM (VINYL / DIGITAL) - https://orcd.co/solina
The BBE Store - Jeff Higgins and Johnny Reckless all Vinyl Tuesdays - 11/02/25 by BBE Music
Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'.While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego.Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.
Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'.While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego.Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.
Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'.While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego.Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.
Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'.While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego.Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
The Brkn Record - Cut The Cheque (featuring Percee P & Great Okuson) Clean Edit GBEQT2400051
Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'.While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego.Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.
Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium.Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist.While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms.Unlike a broken record, this The Brkn Record album keeps pushing boundaries—By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney.One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear.‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, it's common place and needs to end. Simple as.’The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes."The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!Format: 2LP / DigitalRelease Date: May 31st, 2024
Alright, listen up, you maniacs. Magnetic Machines, the duo that's been tearing up the dance scene like a pack of rabid wolves, they've got their debut EP out, and it's going to melt your face right off your skull. This self-titled masterpiece is a shot of pure adrenaline straight to the heart, a sonic cocktail that'll have you tripping balls and begging for more.
Buy / Save it here: https://orcd.co/brknrecordbelieve“Believe” is the second single from The Brkn Record’s upcoming album, “The Architecture of Oppression Part 2”, brought to you by the widely cherished BBE Music. As The Brkn Record, Jake Ferguson concocts a sonic masterpiece that fuses traditional Jazz tempo akin to Sun Ra's "Space is the place" with a grounded futuristic perspective, embedding compelling radical musings and positive affirmations.His creation is more than just music – it's an artistic expression thoughtfully crafted to challenge and uplift your perception on individual freedom. A profound endeavor to redefine the conventional understanding of liberty.This narrative is poetically encapsulated in the intro and outro by Toyin Agbetu, a scholar of African history and politics with the innate ability to succinctly draw understanding on systemic racism, the struggles Black People endure within it, and hint towards viable solutions.“Our freedom must be attached to our desire to be free, to remember and manifest what it means to be free and not freed.”"Believe" also showcases the uniquely talented polymath Ugochi Nwaogwugwu, award winning poet, reputed musician, poetry mentor, and the heart behind Spirit Speaks Inc. With "Believe", Ugochi gives a mesmerizing performance in the vein of June Tyson (Sun Ra) merging impeccably with Toyin's powerful words and the futuristic production spawned by The Brkn Record. Ferguson once again expands the pantheon of multi talented creatives he has selected to bring us “The Architecture of Oppression Part 2”.
By / Save it here: https://orcd.co/chipi"Chipi" is primed to take the club scene by storm, standing out as a monumental instrumental track within the Amapiano genre. Crafted by the collaborative genius of DandyLisbon, Amzin Deep, Buru’Vera, and DrummeRtee942, this track is not just music—it's an experience designed to energize and captivate from the very first beat.DandyLisbon, a name synonymous with innovation in both the fashion and music scenes of Portugal, lends his visionary touch to "Chipi," infusing it with a unique blend of cultural influences and a flair for the dramatic. His background as a footballer-turned-fashion icon- turned DJ has imbued him with a unique perspective on artistry, one that he fully brings to bear on this track.The involvement of Amzin Deep, promises a depth of musical craftsmanship, with Buru’Vera's established Amapiano credentials offer an authentic slice of the genre's South African roots. DrummeRtee942's precision in rhythm and beat-making ensures that "Chipi" delivers on its promise as a club banger that's as intricate as it is infectious.Beyond the pulsing beats and mesmerizing melodies, "Chipi" represents a fusion of talents that speaks to the global appeal of Amapiano. It's a testament to the genre's capacity for evolution and its ability to resonate on dance floors across continents. DandyLisbon and his collaborators have not just created a track; they've engineered an anthem that exemplifies the spirit of Amapiano — joyful, vibrant, and utterly compelling.As "Chipi" rolls out to listeners around the world, its distinction as an instrumental masterpiece is clear. This isn't just another addition to the Amapiano catalog; it's a milestone in the genre's journey, marking a moment where international influences and local flair collide to create something truly remarkable. With "Chipi," DandyLisbon and his team invite you to lose yourself in the rhythm, embrace the beat, and become part of the Amapiano movement that continues to take the world by storm.
Buy / Stream it here: https://orcd.co/roydelfonicExperience a fresh take on Roy Ayers’ classic track “What The T,” masterly remixed by Delfonic – you won’t realize how much you needed it until you hear it! We’re talking a seamless blend of funk and disco, raising the original tempo to a groovy 120BPM with a worthwhile extension of 80 seconds. Ideal for DJ sets aiming to keep the jam rolling.This edit, staged for a digital release, is a must-have for every Roy Ayers aficionado and fervent DJ. Featuring an ensembled jazz squad, including the iconic drummer Bernard Purdie and bassist William Allen, Delfonic’s revolutionary spin breathes a whole new life into this timeless masterpiece.Riding the wave of his professional DJ career since 2004, Delfonic – Markus Lindner in the real world – has decked his mastery across Berlin and wider Europe. His zeal for the groove is unquestionable, seamlessly blending genres drawing from his hip-hop roots. His unconventional DJ approach, open-minded music taste, and flawless flow have made him a crowd favourite.Delfonic calls upon his vast musical palate, versatile DJ skills, and a deep-seated love for all things music. This has positioned him as a major trendsetter in modern music. He’s the mastermind behind labels – OYE Black Label, OYE Edits, and Money $ex Records, which gave rise to talents like Max Graef, Glenn Astro, Alex Seidel, and more. Now a staple at esteemed Berlin venues like Paloma Bar and Club Gretchen, Delfonic has proven to be the model DJ that consistently electrifies the dancefloor.Don’t miss out on this mesmerizing Delfonic Edit of ‘What the T?’ – a fresh spin on a cherished classic bound to elevate your funk and disco set!
But / S Stream the album here: https://orcd.co/songforhopeBBE Music welcomes pianist Aki Takase to the J Jazz Masterclass reissue series, with her 1982 live album ‘Song for Hope’.A musician of poise and precision who has been a noted composer, performer and recording artist for over 40 years, Takase’s ‘Song for Hope’ continues BBE Music’s exploration of Japanese modern jazz from a golden period spanning the late 1960s to the mid-1980s.The ‘Song for Hope’ album is taken from a recording of Takase’s debut European performance taped in November 1981 at the Berlin Jazz Festival and was originally issued in 1982 by Enja Records, a key European jazz label founded in Munich 1971 by Matthias Winckelmann and Horst Weber. On Enja, Takase found herself labelmates with some of the world’s leading jazz pianists like Mal Waldron, Dollar Brand and Randy Weston, and she followed in the footsteps of other leading Japanese artists on the label such as Terumasa Hino and Yosuke Yamashita.The hypnotic title track was included on J Jazz vol. 3, and it features J Jazz stalwart Takeo Moriyama on drums, joined by Nobuyoshi Ino on bass. Moriyama’s career has been well documented on J Jazz vol. 1, and his sublime ‘East Plants’ album was reissued as part of the J Jazz Masterclass Series. Bassist Ino has been an active member of the Japanese jazz scene since the mid-1970s and has performed and recorded with many leading artists and groups including Fumio Itabashi, Masahiko Togashi, Hiromasa Suzuki, Masaru Imada and Masayuki Takayanagi.Aki Takase was born in Osaka in 1948 and began playing piano aged 3. Raised in Tokyo, she studied classical music at the Toho Gakuen Academy, and her musical interests developed from a starting point in classical, before going on to encompass contemporary music and jazz. Among the first jazz compositions she explored were works by Charles Mingus and Ornette Coleman and, in 1972, she moved to New York, working with, among others, Lester Bowie, John Zorn and Dave Liebman.She recorded her debut album for Seven Seas/King Records in 1978 and appeared on some key J Jazz album such as Yoshio Ikeda’s ‘Sketches of my Life’ and Seiichi Nakamura’s ‘Wolf’s Theme’. Takase has lived in Berlin since 1987 and is married to German pianist and composer Alexander von Schlippenbach, with whom she records and performs, sometimes as part of the Berlin Contemporary Jazz Orchestra. She has also performed and recorded extensively with many other leading figures in contemporary jazz and improvised music including David Murray, Fred Frith, Evan Parker, and Maria João.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
But / S Stream the album here: https://orcd.co/songforhopeBBE Music welcomes pianist Aki Takase to the J Jazz Masterclass reissue series, with her 1982 live album ‘Song for Hope’.A musician of poise and precision who has been a noted composer, performer and recording artist for over 40 years, Takase’s ‘Song for Hope’ continues BBE Music’s exploration of Japanese modern jazz from a golden period spanning the late 1960s to the mid-1980s.The ‘Song for Hope’ album is taken from a recording of Takase’s debut European performance taped in November 1981 at the Berlin Jazz Festival and was originally issued in 1982 by Enja Records, a key European jazz label founded in Munich 1971 by Matthias Winckelmann and Horst Weber. On Enja, Takase found herself labelmates with some of the world’s leading jazz pianists like Mal Waldron, Dollar Brand and Randy Weston, and she followed in the footsteps of other leading Japanese artists on the label such as Terumasa Hino and Yosuke Yamashita.The hypnotic title track was included on J Jazz vol. 3, and it features J Jazz stalwart Takeo Moriyama on drums, joined by Nobuyoshi Ino on bass. Moriyama’s career has been well documented on J Jazz vol. 1, and his sublime ‘East Plants’ album was reissued as part of the J Jazz Masterclass Series. Bassist Ino has been an active member of the Japanese jazz scene since the mid-1970s and has performed and recorded with many leading artists and groups including Fumio Itabashi, Masahiko Togashi, Hiromasa Suzuki, Masaru Imada and Masayuki Takayanagi.Aki Takase was born in Osaka in 1948 and began playing piano aged 3. Raised in Tokyo, she studied classical music at the Toho Gakuen Academy, and her musical interests developed from a starting point in classical, before going on to encompass contemporary music and jazz. Among the first jazz compositions she explored were works by Charles Mingus and Ornette Coleman and, in 1972, she moved to New York, working with, among others, Lester Bowie, John Zorn and Dave Liebman.She recorded her debut album for Seven Seas/King Records in 1978 and appeared on some key J Jazz album such as Yoshio Ikeda’s ‘Sketches of my Life’ and Seiichi Nakamura’s ‘Wolf’s Theme’. Takase has lived in Berlin since 1987 and is married to German pianist and composer Alexander von Schlippenbach, with whom she records and performs, sometimes as part of the Berlin Contemporary Jazz Orchestra. She has also performed and recorded extensively with many other leading figures in contemporary jazz and improvised music including David Murray, Fred Frith, Evan Parker, and Maria João.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
But / S Stream the album here: https://orcd.co/songforhopeBBE Music welcomes pianist Aki Takase to the J Jazz Masterclass reissue series, with her 1982 live album ‘Song for Hope’.A musician of poise and precision who has been a noted composer, performer and recording artist for over 40 years, Takase’s ‘Song for Hope’ continues BBE Music’s exploration of Japanese modern jazz from a golden period spanning the late 1960s to the mid-1980s.The ‘Song for Hope’ album is taken from a recording of Takase’s debut European performance taped in November 1981 at the Berlin Jazz Festival and was originally issued in 1982 by Enja Records, a key European jazz label founded in Munich 1971 by Matthias Winckelmann and Horst Weber. On Enja, Takase found herself labelmates with some of the world’s leading jazz pianists like Mal Waldron, Dollar Brand and Randy Weston, and she followed in the footsteps of other leading Japanese artists on the label such as Terumasa Hino and Yosuke Yamashita.The hypnotic title track was included on J Jazz vol. 3, and it features J Jazz stalwart Takeo Moriyama on drums, joined by Nobuyoshi Ino on bass. Moriyama’s career has been well documented on J Jazz vol. 1, and his sublime ‘East Plants’ album was reissued as part of the J Jazz Masterclass Series. Bassist Ino has been an active member of the Japanese jazz scene since the mid-1970s and has performed and recorded with many leading artists and groups including Fumio Itabashi, Masahiko Togashi, Hiromasa Suzuki, Masaru Imada and Masayuki Takayanagi.Aki Takase was born in Osaka in 1948 and began playing piano aged 3. Raised in Tokyo, she studied classical music at the Toho Gakuen Academy, and her musical interests developed from a starting point in classical, before going on to encompass contemporary music and jazz. Among the first jazz compositions she explored were works by Charles Mingus and Ornette Coleman and, in 1972, she moved to New York, working with, among others, Lester Bowie, John Zorn and Dave Liebman.She recorded her debut album for Seven Seas/King Records in 1978 and appeared on some key J Jazz album such as Yoshio Ikeda’s ‘Sketches of my Life’ and Seiichi Nakamura’s ‘Wolf’s Theme’. Takase has lived in Berlin since 1987 and is married to German pianist and composer Alexander von Schlippenbach, with whom she records and performs, sometimes as part of the Berlin Contemporary Jazz Orchestra. She has also performed and recorded extensively with many other leading figures in contemporary jazz and improvised music including David Murray, Fred Frith, Evan Parker, and Maria João.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
But / S Stream the album here: https://orcd.co/songforhopeBBE Music welcomes pianist Aki Takase to the J Jazz Masterclass reissue series, with her 1982 live album ‘Song for Hope’.A musician of poise and precision who has been a noted composer, performer and recording artist for over 40 years, Takase’s ‘Song for Hope’ continues BBE Music’s exploration of Japanese modern jazz from a golden period spanning the late 1960s to the mid-1980s.The ‘Song for Hope’ album is taken from a recording of Takase’s debut European performance taped in November 1981 at the Berlin Jazz Festival and was originally issued in 1982 by Enja Records, a key European jazz label founded in Munich 1971 by Matthias Winckelmann and Horst Weber. On Enja, Takase found herself labelmates with some of the world’s leading jazz pianists like Mal Waldron, Dollar Brand and Randy Weston, and she followed in the footsteps of other leading Japanese artists on the label such as Terumasa Hino and Yosuke Yamashita.The hypnotic title track was included on J Jazz vol. 3, and it features J Jazz stalwart Takeo Moriyama on drums, joined by Nobuyoshi Ino on bass. Moriyama’s career has been well documented on J Jazz vol. 1, and his sublime ‘East Plants’ album was reissued as part of the J Jazz Masterclass Series. Bassist Ino has been an active member of the Japanese jazz scene since the mid-1970s and has performed and recorded with many leading artists and groups including Fumio Itabashi, Masahiko Togashi, Hiromasa Suzuki, Masaru Imada and Masayuki Takayanagi.Aki Takase was born in Osaka in 1948 and began playing piano aged 3. Raised in Tokyo, she studied classical music at the Toho Gakuen Academy, and her musical interests developed from a starting point in classical, before going on to encompass contemporary music and jazz. Among the first jazz compositions she explored were works by Charles Mingus and Ornette Coleman and, in 1972, she moved to New York, working with, among others, Lester Bowie, John Zorn and Dave Liebman.She recorded her debut album for Seven Seas/King Records in 1978 and appeared on some key J Jazz album such as Yoshio Ikeda’s ‘Sketches of my Life’ and Seiichi Nakamura’s ‘Wolf’s Theme’. Takase has lived in Berlin since 1987 and is married to German pianist and composer Alexander von Schlippenbach, with whom she records and performs, sometimes as part of the Berlin Contemporary Jazz Orchestra. She has also performed and recorded extensively with many other leading figures in contemporary jazz and improvised music including David Murray, Fred Frith, Evan Parker, and Maria João.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Introducing "Cut The Cheque" - the groundbreaking single from the highly anticipated sophomore album by The Brkn Record, The Architecture of Oppression Part 2. This album is set to delve deep into the human condition and shed light on the impact of systemic racism.Featuring the incredible talent of Hip Hop stalwart Percee P and the emerging artist Great Okosun, "Cut The Cheque" is a powerful track. Percee P delivers thought-provoking lyrics, addressing the long overdue recognition and reparations owed to the true builders of the British and Western Empires. As he passionately raps, "Melanated people need to be celebrated not relegated to something hella hated... cut the cheque."This track oozes the richness of a vintage public enemy Bomb Squad production, showcasing The Brkn Record’s exceptional musicianship. This is an organic record made with organic instruments, rich arrangements and visceral playing.Adding even more depth to the song is the 24-year-old Great Okosun, who flawlessly cuts to the chase and eloquently tackles the issues of racial bias and the institutionalisation of racism.‘Cut the Cheque means that we no longer sit by and let our lives be Used for Free’ Great Okosun."Cut The Cheque" is a must-listen for anyone seeking music that tackles important social issues head-on. Get ready to be moved and inspired by this standout track from The Brkn Record - Architecture of Oppression Part 2.
Releasing to coincide with the Ghanaian Independence Day celebrations on 6th March, African Brothers Band International of Ghana's Locomotive Train (Keteke) - Meko Tarkwa! Meko Tarkwa! Meko Tarkwa!!! album is a fine example of the band's fusion of Highlife, guitar based Rock and Reggae.Originally formed as The African Brothers in 1963 as a concert party, the band has had a rotation of personnel and several variations on the band name with many of their 56 albums only released in Ghana and, in some cases, only ever on cassette.The line-up for this album is the personnel list considered to be the classic with bandleader Nana Kwame Ampadu arranging, composing and producing all tracks with a five guitar front line backed by the legendary Baba Tunde on drums alongside the organ, bass and three percussionists.Originally coming out on the Ghanaian label Happy Sun, a subsidiary of Nyarko Records, Locomotive Train represents one of many album and single collaborations between label and band from the early 1970's onwards.Re-issued as a digital in time for the Independence Day celebrations in Ghana Locomotive Train has been fully remastered by Frank Merritt at The Carvery, London and is a fantastic choice to highlight the part that Highlife has played in the cultural history of Ghana and its music.
Releasing to coincide with the Ghanaian Independence Day celebrations on 6th March, African Brothers Band International of Ghana's Locomotive Train (Keteke) - Meko Tarkwa! Meko Tarkwa! Meko Tarkwa!!! album is a fine example of the band's fusion of Highlife, guitar based Rock and Reggae.Originally formed as The African Brothers in 1963 as a concert party, the band has had a rotation of personnel and several variations on the band name with many of their 56 albums only released in Ghana and, in some cases, only ever on cassette.The line-up for this album is the personnel list considered to be the classic with bandleader Nana Kwame Ampadu arranging, composing and producing all tracks with a five guitar front line backed by the legendary Baba Tunde on drums alongside the organ, bass and three percussionists.Originally coming out on the Ghanaian label Happy Sun, a subsidiary of Nyarko Records, Locomotive Train represents one of many album and single collaborations between label and band from the early 1970's onwards.Re-issued as a digital in time for the Independence Day celebrations in Ghana Locomotive Train has been fully remastered by Frank Merritt at The Carvery, London and is a fantastic choice to highlight the part that Highlife has played in the cultural history of Ghana and its music.
Releasing to coincide with the Ghanaian Independence Day celebrations on 6th March, African Brothers Band International of Ghana's Locomotive Train (Keteke) - Meko Tarkwa! Meko Tarkwa! Meko Tarkwa!!! album is a fine example of the band's fusion of Highlife, guitar based Rock and Reggae.Originally formed as The African Brothers in 1963 as a concert party, the band has had a rotation of personnel and several variations on the band name with many of their 56 albums only released in Ghana and, in some cases, only ever on cassette.The line-up for this album is the personnel list considered to be the classic with bandleader Nana Kwame Ampadu arranging, composing and producing all tracks with a five guitar front line backed by the legendary Baba Tunde on drums alongside the organ, bass and three percussionists.Originally coming out on the Ghanaian label Happy Sun, a subsidiary of Nyarko Records, Locomotive Train represents one of many album and single collaborations between label and band from the early 1970's onwards.Re-issued as a digital in time for the Independence Day celebrations in Ghana Locomotive Train has been fully remastered by Frank Merritt at The Carvery, London and is a fantastic choice to highlight the part that Highlife has played in the cultural history of Ghana and its music.
Releasing to coincide with the Ghanaian Independence Day celebrations on 6th March, African Brothers Band International of Ghana's Locomotive Train (Keteke) - Meko Tarkwa! Meko Tarkwa! Meko Tarkwa!!! album is a fine example of the band's fusion of Highlife, guitar based Rock and Reggae.Originally formed as The African Brothers in 1963 as a concert party, the band has had a rotation of personnel and several variations on the band name with many of their 56 albums only released in Ghana and, in some cases, only ever on cassette.The line-up for this album is the personnel list considered to be the classic with bandleader Nana Kwame Ampadu arranging, composing and producing all tracks with a five guitar front line backed by the legendary Baba Tunde on drums alongside the organ, bass and three percussionists.Originally coming out on the Ghanaian label Happy Sun, a subsidiary of Nyarko Records, Locomotive Train represents one of many album and single collaborations between label and band from the early 1970's onwards.Re-issued as a digital in time for the Independence Day celebrations in Ghana Locomotive Train has been fully remastered by Frank Merritt at The Carvery, London and is a fantastic choice to highlight the part that Highlife has played in the cultural history of Ghana and its music.
Releasing to coincide with the Ghanaian Independence Day celebrations on 6th March, African Brothers Band International of Ghana's Locomotive Train (Keteke) - Meko Tarkwa! Meko Tarkwa! Meko Tarkwa!!! album is a fine example of the band's fusion of Highlife, guitar based Rock and Reggae.Originally formed as The African Brothers in 1963 as a concert party, the band has had a rotation of personnel and several variations on the band name with many of their 56 albums only released in Ghana and, in some cases, only ever on cassette.The line-up for this album is the personnel list considered to be the classic with bandleader Nana Kwame Ampadu arranging, composing and producing all tracks with a five guitar front line backed by the legendary Baba Tunde on drums alongside the organ, bass and three percussionists.Originally coming out on the Ghanaian label Happy Sun, a subsidiary of Nyarko Records, Locomotive Train represents one of many album and single collaborations between label and band from the early 1970's onwards.Re-issued as a digital in time for the Independence Day celebrations in Ghana Locomotive Train has been fully remastered by Frank Merritt at The Carvery, London and is a fantastic choice to highlight the part that Highlife has played in the cultural history of Ghana and its music.
The second single to come from musclecars’ debut LP “Sugar Honey Iced Tea!” is a transcendent sonic masterpiece by the name of “Ha Ya! (Eternal Life)”. This captivating broken beat, Afro-jazz composition delves into the enigmatic realms of the afterlife, offering a mesmerizing exploration of what lies beyond our mortal existence.A nod to the Clark Sister’s original tune bearing the same title, “Ha Ya! (Eternal Life)” gracefully unfolds with the captivating vocal performance by German Jazz Award Winner, Natalie Greffel. Chanting the same spiritual tongues of the original, the vocal arrangement seamlessly invokes profound feelings of devotion and endurance. Paired with a phenomenal flute solo from Underground System’s Domenica Fossati, and a transcendent string ensemble, the track's intricate rhythms and soulful melodies serve as a portal to a realm where the afterlife is painted in hues of cosmic wonder.This sonic revelation is more than a tribute to the afterlife; it's a celebration of life's continuity beyond death. musclecars’ evocative storytelling through sound invites audiences to ponder the echoes of their own existence, finding solace in the idea that life persists through the legacy of their passion, devotion, and profound connections.Releasing as a digital single, “Ha Ya! (Eternal Life)” serves as an enticing precursor to the forthcoming vinyl LP release "Sugar Honey Iced Tea!" scheduled for May 2024. This Jazz odyssey offers a glimpse into the diversity of musclecars' highly anticipated debut album, seamlessly blending House to Techno, to Soul and Jazz, to R&B, to Ambient, and beyond. Crafted with meticulous artistry, the album transcends musical boundaries, providing a sonic journey for both the dance floor and introspective contemplation. As a harmonious convergence of the music genres that inspire them, Brandon Weems and Craig Handfield invite listeners to explore the rich tapestry of black experiences embedded within its musical narrative.
The second single to come from musclecars’ debut LP “Sugar Honey Iced Tea!” is a transcendent sonic masterpiece by the name of “Ha Ya! (Eternal Life)”. This captivating broken beat, Afro-jazz composition delves into the enigmatic realms of the afterlife, offering a mesmerizing exploration of what lies beyond our mortal existence.A nod to the Clark Sister’s original tune bearing the same title, “Ha Ya! (Eternal Life)” gracefully unfolds with the captivating vocal performance by German Jazz Award Winner, Natalie Greffel. Chanting the same spiritual tongues of the original, the vocal arrangement seamlessly invokes profound feelings of devotion and endurance. Paired with a phenomenal flute solo from Underground System’s Domenica Fossati, and a transcendent string ensemble, the track's intricate rhythms and soulful melodies serve as a portal to a realm where the afterlife is painted in hues of cosmic wonder.This sonic revelation is more than a tribute to the afterlife; it's a celebration of life's continuity beyond death. musclecars’ evocative storytelling through sound invites audiences to ponder the echoes of their own existence, finding solace in the idea that life persists through the legacy of their passion, devotion, and profound connections.Releasing as a digital single, “Ha Ya! (Eternal Life)” serves as an enticing precursor to the forthcoming vinyl LP release "Sugar Honey Iced Tea!" scheduled for May 2024. This Jazz odyssey offers a glimpse into the diversity of musclecars' highly anticipated debut album, seamlessly blending House to Techno, to Soul and Jazz, to R&B, to Ambient, and beyond. Crafted with meticulous artistry, the album transcends musical boundaries, providing a sonic journey for both the dance floor and introspective contemplation. As a harmonious convergence of the music genres that inspire them, Brandon Weems and Craig Handfield invite listeners to explore the rich tapestry of black experiences embedded within its musical narrative. credits
Releasing as the title track of her forthcoming debut album, From the Fire is also the 2nd single release from Audrey Powne's self-written and self-produced masterpiece. The track features Audrey as vocalist and virtuoso trumpet player in a song that blends a beautifully laconic drum break with a melody and lyrics which promise both optimism and re-birth.Taking direct inspiration from two of Audrey's favourite artists, the groove and harmonics in From the Fire are influenced by Herbie Hancock, in particularly his Secrets and Sunlight LPs, both from the 1970s. The layered, harmonised trumpet solo that brings From the Fire home owes its form to Audrey's love of the genius of Roy Hargrove.Indeed, as well as Hargrove's influence as a trumpet maestro coming into play on the track, Audrey Powne also employs similar recording techniques to those used by Hargrove in his seminal work with the RH Factor. As with the previous single release, From The Fire also highlights Audrey Powne's skills and artistry as a producer and arranger.Audrey Powne is an artist destined for greatness as a composer, lyricist, vocalist, producer, arranger and musician and in both the singles coming off the From The Fire album we get a taste of the brilliance that is promised in the full album.
Releasing as the title track of her forthcoming debut album, From the Fire is also the 2nd single release from Audrey Powne's self-written and self-produced masterpiece. The track features Audrey as vocalist and virtuoso trumpet player in a song that blends a beautifully laconic drum break with a melody and lyrics which promise both optimism and re-birth.Taking direct inspiration from two of Audrey's favourite artists, the groove and harmonics in From the Fire are influenced by Herbie Hancock, in particularly his Secrets and Sunlight LPs, both from the 1970s. The layered, harmonised trumpet solo that brings From the Fire home owes its form to Audrey's love of the genius of Roy Hargrove.Indeed, as well as Hargrove's influence as a trumpet maestro coming into play on the track, Audrey Powne also employs similar recording techniques to those used by Hargrove in his seminal work with the RH Factor. As with the previous single release, From The Fire also highlights Audrey Powne's skills and artistry as a producer and arranger.Audrey Powne is an artist destined for greatness as a composer, lyricist, vocalist, producer, arranger and musician and in both the singles coming off the From The Fire album we get a taste of the brilliance that is promised in the full album.
The second single to come from musclecars’ debut LP “Sugar Honey Iced Tea!” is a transcendent sonic masterpiece by the name of “Ha Ya! (Eternal Life)”. This captivating broken beat, Afro-jazz composition delves into the enigmatic realms of the afterlife, offering a mesmerizing exploration of what lies beyond our mortal existence.A nod to the Clark Sister’s original tune bearing the same title, “Ha Ya! (Eternal Life)” gracefully unfolds with the captivating vocal performance by German Jazz Award Winner, Natalie Greffel. Chanting the same spiritual tongues of the original, the vocal arrangement seamlessly invokes profound feelings of devotion and endurance. Paired with a phenomenal flute solo from Underground System’s Domenica Fossati, and a transcendent string ensemble, the track's intricate rhythms and soulful melodies serve as a portal to a realm where the afterlife is painted in hues of cosmic wonder.This sonic revelation is more than a tribute to the afterlife; it's a celebration of life's continuity beyond death. musclecars’ evocative storytelling through sound invites audiences to ponder the echoes of their own existence, finding solace in the idea that life persists through the legacy of their passion, devotion, and profound connections.Releasing as a digital single, “Ha Ya! (Eternal Life)” serves as an enticing precursor to the forthcoming vinyl LP release "Sugar Honey Iced Tea!" scheduled for May 2024. This Jazz odyssey offers a glimpse into the diversity of musclecars' highly anticipated debut album, seamlessly blending House to Techno, to Soul and Jazz, to R&B, to Ambient, and beyond. Crafted with meticulous artistry, the album transcends musical boundaries, providing a sonic journey for both the dance floor and introspective contemplation. As a harmonious convergence of the music genres that inspire them, Brandon Weems and Craig Handfield invite listeners to explore the rich tapestry of black experiences embedded within its musical narrative. credits
But / S Stream the album here: https://orcd.co/songforhopeBBE Music welcomes pianist Aki Takase to the J Jazz Masterclass reissue series, with her 1982 live album ‘Song for Hope’.A musician of poise and precision who has been a noted composer, performer and recording artist for over 40 years, Takase’s ‘Song for Hope’ continues BBE Music’s exploration of Japanese modern jazz from a golden period spanning the late 1960s to the mid-1980s.The ‘Song for Hope’ album is taken from a recording of Takase’s debut European performance taped in November 1981 at the Berlin Jazz Festival and was originally issued in 1982 by Enja Records, a key European jazz label founded in Munich 1971 by Matthias Winckelmann and Horst Weber. On Enja, Takase found herself labelmates with some of the world’s leading jazz pianists like Mal Waldron, Dollar Brand and Randy Weston, and she followed in the footsteps of other leading Japanese artists on the label such as Terumasa Hino and Yosuke Yamashita.The hypnotic title track was included on J Jazz vol. 3, and it features J Jazz stalwart Takeo Moriyama on drums, joined by Nobuyoshi Ino on bass. Moriyama’s career has been well documented on J Jazz vol. 1, and his sublime ‘East Plants’ album was reissued as part of the J Jazz Masterclass Series. Bassist Ino has been an active member of the Japanese jazz scene since the mid-1970s and has performed and recorded with many leading artists and groups including Fumio Itabashi, Masahiko Togashi, Hiromasa Suzuki, Masaru Imada and Masayuki Takayanagi.Aki Takase was born in Osaka in 1948 and began playing piano aged 3. Raised in Tokyo, she studied classical music at the Toho Gakuen Academy, and her musical interests developed from a starting point in classical, before going on to encompass contemporary music and jazz. Among the first jazz compositions she explored were works by Charles Mingus and Ornette Coleman and, in 1972, she moved to New York, working with, among others, Lester Bowie, John Zorn and Dave Liebman.She recorded her debut album for Seven Seas/King Records in 1978 and appeared on some key J Jazz album such as Yoshio Ikeda’s ‘Sketches of my Life’ and Seiichi Nakamura’s ‘Wolf’s Theme’. Takase has lived in Berlin since 1987 and is married to German pianist and composer Alexander von Schlippenbach, with whom she records and performs, sometimes as part of the Berlin Contemporary Jazz Orchestra. She has also performed and recorded extensively with many other leading figures in contemporary jazz and improvised music including David Murray, Fred Frith, Evan Parker, and Maria João.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Save it here: https://orcd.co/animabreatheAnima, the opening number from harpist Alina Bzhezhinska and saxophonist Tony Kofi's collaborative musical journey, Altera Vita, is a captivating ode to life’s very essence, breath. Intrinsically entwined with our existence, ‘Anima’ – Latin for soul – finds its symbiotic relationship with breath, deeply rooted in mythic lore. Ancient civilizations believed it to be the gods who 'breathe', or bestow the Ka - a life force or soul - onto an individual, marking the beginning of their existence.Anima serves as a perfect entry point into the expansive universe of ‘Altera Vita’. The composition begins with a harp intro that guides the listener into a serene ‘other world’ where Kofi’s saxophone and Bzhezhinska’s harp engage in an intimate dance echoing stories of existence, questioning and responding to each other’s musical cues. The interspersing cadences achieve a resounding echo of life's rhythm, adding layers of atmospheric depth and a hint of percussive texture, creating a rich tapestry of sound.The spotlight, quite deservedly, falls on the razor-sharp precision and controlled mastery of Kofi’s saxophone performance. It inhabits a central space in this ethereal ensemble as it intricately weaves through the narrative of the track. The saxophone's voice, both poignant and assertive, offers a compelling focus that harmoniously fuses with the exotic and beguiling strands of Bzhezhinska’s harp.Together, they envelop the listener in an aural spectacle spanning five minutes, designed to cleanse senses and uplift spirits. It captures the transient quality of breath – the raw, unadulterated phenomena that fuels the existence of every living entity. Anima, in essence, transcends the ordinary and celebrates the profound connection between breath and Anima (soul).
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the EP here: https://orcd.co/feedthefireFeed the Fire is the lead single from multi-instrumentalist Audrey Powne's forthcoming From the Fire LP and what an introduction it is to the Melbourne based artist's much anticipated debut album. Building on Audrey's already impressive international reputation as a performer and session musician, she has received plaudits from Gilles Peterson, Maceo Parker and Masta Ace amongst others.With music and lyrics composed by Audrey, Feed the Fire is a track written in response to the Australian bushfires of 2019 and their undeniable link to the climate crisis and the Government's unwillingness to acknowledge this connection.Combining dramatic strings with a powerful and emotion fuelled vocal, a dark harmony and a climactic trumpet solo Feed The Fire is a track that fuses a Neo-Soul and Jazz feel with a tough drum break and a production that is reminiscent of the quality of a Charles Stepney track. With Audrey combining composition and lyric writing duties with trumpet, vocals and string arrangements on Feed the Fire, it is very much her production values evident here.This wonderful single package will also include the instrumental version not available on the vinyl LP and remixes by BBE stalwarts Atjazz and the New York maestros musclecars. Both remixes showcase Atjazz and musclecars signature styles at honing in on moods and rhythms in Audrey’s composition and translating them into certified dancefloor bangers. Definitely tracks needed for any serious DJ's cannon in 2024.
Buy / Save the single here: https://orcd.co/musclecarsrunningOn January 19th, the renowned artist and production duo, musclecars, is set to release their latest single, "Running Out of Time," a poignant exploration of time, space, and life’s relentless pace. Releasing as a digital single, "Running Out of Time" will be fans' first taste of the highly anticipated debut album from native Brooklynites Brandon Weems and Craig Handfield.The composition unfolds with a hard hitting kick drum, eventually revealing a pulsating rhythmic voyage, accelerated by the urgent use of sirens. As the piece builds with striking snares, musclecars capture the essence of frustration and desire, resonating with the pulse of those who have felt the push and pull of life’s inexorable pace. The arrangement, with its electro-bass and Afro-Latin percussion, becomes a canvas upon which the listener can paint their own story— a story of fleeting moments, missed connections, and the perpetual dance with time.As the second half of the piece gracefully reveals itself, we come to understand that "Running Out of Time" is not just a club anthem, but a sonic journey. One that immerses dancers in a realm where emotions are expressed through rhythms, and time seems to stretch and contract with each synth line. Through this mesmerizing climax, a profound sense of acceptance washes over us, lifting burdens and embracing the emotions stirred in the opening passage.“Running Out of Time” heralds the upcoming vinyl LP release “Sugar Honey Iced Tea!” on BBE Music. It follows the earlier release on the label of musclecars' critically acclaimed re- imaginations of Jazzanova's own versions of “Beyond The Dream”. Once again Brandon and Craig draw the lines and create the channels that marry the imagination with the dance floor.
Buy / Stream the EP here: https://orcd.co/girlsjaypsarremixIntroducing the Jay Psar remix of "Girls " by Busy Signal and Boddhi Satva, expertly crafted by Grammy award-winning producer Jay Psar. This fusion of Dancehall and Afro-house is a necessity for any club DJ. With Busy Signal's infectious vocals and Boddhi Satva's exceptional production, this remix becomes an instant sensation. Jay Psar's Midas touch takes it to spectacular heights, infusing atmospheric elements into the mesmerizing vocals making an enchanting sonic experience. Tune into the Jay Psar remix of "Girls" today.
Buy / Stream the EP here: https://orcd.co/girlsjaypsarremixIntroducing the Jay Psar remix of "Girls " by Busy Signal and Boddhi Satva, expertly crafted by Grammy award-winning producer Jay Psar. This fusion of Dancehall and Afro-house is a necessity for any club DJ. With Busy Signal's infectious vocals and Boddhi Satva's exceptional production, this remix becomes an instant sensation. Jay Psar's Midas touch takes it to spectacular heights, infusing atmospheric elements into the mesmerizing vocals making an enchanting sonic experience. Tune into the Jay Psar remix of "Girls" today.
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.
Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.
Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.
JEWEL ACKAH - ELECTRIC HI-LIFETo many Ghanaians, Jewel Ackah’s name IS synonymous with feelgood, old-school highlife dance music, not least the anthem of Ghana’s National Democratic Congress, composed and performed by Jewel at the behest of the government, to much acclaim.This superb Asona disc, though, is carefully titled: because although it’s unmistakeably Burger-style, it also harks back to the old school brass-band highlife sound in more ways than one. Kwaku Fela’s loose’n’funky percussion style and the jazz-infused horn section make this a true keeper, with a sound all its own- even among other Burger discs.
Buy / Stream the album here: https://orcd.co/electrichilifeJEWEL ACKAH - ELECTRIC HI-LIFETo many Ghanaians, Jewel Ackah’s name IS synonymous with feelgood, old-school highlife dance music, not least the anthem of Ghana’s National Democratic Congress, composed and performed by Jewel at the behest of the government, to much acclaim.This superb Asona disc, though, is carefully titled: because although it’s unmistakeably Burger-style, it also harks back to the old school brass-band highlife sound in more ways than one. Kwaku Fela’s loose’n’funky percussion style and the jazz-infused horn section make this a true keeper, with a sound all its own- even among other Burger discs.
Buy / Stream the album here: https://orcd.co/electrichilifeJEWEL ACKAH - ELECTRIC HI-LIFETo many Ghanaians, Jewel Ackah’s name IS synonymous with feelgood, old-school highlife dance music, not least the anthem of Ghana’s National Democratic Congress, composed and performed by Jewel at the behest of the government, to much acclaim.This superb Asona disc, though, is carefully titled: because although it’s unmistakeably Burger-style, it also harks back to the old school brass-band highlife sound in more ways than one. Kwaku Fela’s loose’n’funky percussion style and the jazz-infused horn section make this a true keeper, with a sound all its own- even among other Burger discs.
Buy / Stream the album here: https://orcd.co/electrichilifeJEWEL ACKAH - ELECTRIC HI-LIFETo many Ghanaians, Jewel Ackah’s name IS synonymous with feelgood, old-school highlife dance music, not least the anthem of Ghana’s National Democratic Congress, composed and performed by Jewel at the behest of the government, to much acclaim.This superb Asona disc, though, is carefully titled: because although it’s unmistakeably Burger-style, it also harks back to the old school brass-band highlife sound in more ways than one. Kwaku Fela’s loose’n’funky percussion style and the jazz-infused horn section make this a true keeper, with a sound all its own- even among other Burger discs.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/kantataKANTATA - IT'S HIGH TIME NOW‘It’s not enough just to play music. You have to hear music, see music, smell music’. Thus Lee Dodou, leader and all-round Main Man of Kantata. Although most sources quote George Darko’s 1983 hit Akoo Te Brofo as the first ‘true’ Burger highlife recording, it’s worth remembering that it was actually Lee Dodou whose voice and guitar also graced that recording. So: who truly had the first Burger hit: George- or Lee? It’s a controversy that has raged down the years in Highlife circles.This Asona album is replete with Highlife legends old and new: Chief Kwame (Highlife Time, Asiko); kit drummer Ekow Browne (Pat Thomas & Marijata); Nigerian guitar legend Oghene Kologbo (Fela Kuti, Afrika 70); percussionist Fouad Amoo, of the cult Afrobeat-roots-reggae band Dunia; and several others.Production- as with all these Asona/BBE Africa reissues- was by the late Anthony Frempong.Go-to track is Monsom, a gospel-funk-highlife killer, pretty unique- even among the Burger genre itself.
Buy / Stream the album here: https://orcd.co/nananomasonaERIC AGYEMANG AND HIS KOKROKO BAND - NANANOMA living history of modern Ghana music, Eric Agyemang started his musical career in 1963 with pop outfit The Midnight Movers, in 1972 moving on to Doctor K Gyasi’s Noble Kings and in 1973 to the legendary Sweet Talks. A gifted arranger, Agyemang would transform the sound of Ghana’s most celebrated band from one of ‘straight’ Highlife to a punchier, horn- laden, soulful vibe, ready-made for the dancefloor.A chance meeting in the early 1980s at a private party in a north London suburb between Agyemang and Asona founder Anthony Frempong resulted in an immediate recording contract.Go-to track is undoubtedly the whole-of-side 2: a sikyi -style Burger highlife medley. Look out for trumpeter Pat Akrasie’s beautiful and moving solo inserts throughout.
Buy / Stream the album here: https://orcd.co/nananomasonaERIC AGYEMANG AND HIS KOKROKO BAND - NANANOMA living history of modern Ghana music, Eric Agyemang started his musical career in 1963 with pop outfit The Midnight Movers, in 1972 moving on to Doctor K Gyasi’s Noble Kings and in 1973 to the legendary Sweet Talks. A gifted arranger, Agyemang would transform the sound of Ghana’s most celebrated band from one of ‘straight’ Highlife to a punchier, horn- laden, soulful vibe, ready-made for the dancefloor.A chance meeting in the early 1980s at a private party in a north London suburb between Agyemang and Asona founder Anthony Frempong resulted in an immediate recording contract.Go-to track is undoubtedly the whole-of-side 2: a sikyi -style Burger highlife medley. Look out for trumpeter Pat Akrasie’s beautiful and moving solo inserts throughout.
Buy / Stream the album here: https://orcd.co/nananomasonaERIC AGYEMANG AND HIS KOKROKO BAND - NANANOMA living history of modern Ghana music, Eric Agyemang started his musical career in 1963 with pop outfit The Midnight Movers, in 1972 moving on to Doctor K Gyasi’s Noble Kings and in 1973 to the legendary Sweet Talks. A gifted arranger, Agyemang would transform the sound of Ghana’s most celebrated band from one of ‘straight’ Highlife to a punchier, horn- laden, soulful vibe, ready-made for the dancefloor.A chance meeting in the early 1980s at a private party in a north London suburb between Agyemang and Asona founder Anthony Frempong resulted in an immediate recording contract.Go-to track is undoubtedly the whole-of-side 2: a sikyi -style Burger highlife medley. Look out for trumpeter Pat Akrasie’s beautiful and moving solo inserts throughout.
Buy / Stream the album here: https://orcd.co/nananomasonaERIC AGYEMANG AND HIS KOKROKO BAND - NANANOMA living history of modern Ghana music, Eric Agyemang started his musical career in 1963 with pop outfit The Midnight Movers, in 1972 moving on to Doctor K Gyasi’s Noble Kings and in 1973 to the legendary Sweet Talks. A gifted arranger, Agyemang would transform the sound of Ghana’s most celebrated band from one of ‘straight’ Highlife to a punchier, horn- laden, soulful vibe, ready-made for the dancefloor.A chance meeting in the early 1980s at a private party in a north London suburb between Agyemang and Asona founder Anthony Frempong resulted in an immediate recording contract.Go-to track is undoubtedly the whole-of-side 2: a sikyi -style Burger highlife medley. Look out for trumpeter Pat Akrasie’s beautiful and moving solo inserts throughout.
Buy / Stream the album here: https://orcd.co/nananomasonaERIC AGYEMANG AND HIS KOKROKO BAND - NANANOMA living history of modern Ghana music, Eric Agyemang started his musical career in 1963 with pop outfit The Midnight Movers, in 1972 moving on to Doctor K Gyasi’s Noble Kings and in 1973 to the legendary Sweet Talks. A gifted arranger, Agyemang would transform the sound of Ghana’s most celebrated band from one of ‘straight’ Highlife to a punchier, horn- laden, soulful vibe, ready-made for the dancefloor.A chance meeting in the early 1980s at a private party in a north London suburb between Agyemang and Asona founder Anthony Frempong resulted in an immediate recording contract.Go-to track is undoubtedly the whole-of-side 2: a sikyi -style Burger highlife medley. Look out for trumpeter Pat Akrasie’s beautiful and moving solo inserts throughout.
Buy / Stream the album here: https://orcd.co/ndeyendaA.K. YEBOAH - NDE YEN DAAK Yeboah- Antony ‘King’ Yeboah- began his career playing ‘classic’ highlife in the 1950s.Thirty years later, he hit upon the brilliant idea of writing songs in Pidgin, to attract a much wider listenership- especially among neighbouring Nigerians.Yeboah’s pan-African electric guitar style was a shoo-in for the 80s ‘burger’ highlife style, and equally popular with Colombia’s burgeoning ‘picotero’ DJ sound systems. In fact this record is probably the perfect calling card for that innovative sound.To this day, he remains a leading source of inspiration to budding Ghanaian musicians and recording artists the world over.
A.K. YEBOAH - NDE YEN DAAK Yeboah- Antony ‘King’ Yeboah- began his career playing ‘classic’ highlife in the 1950s.Thirty years later, he hit upon the brilliant idea of writing songs in Pidgin, to attract a much wider listenership- especially among neighbouring Nigerians.Yeboah’s pan-African electric guitar style was a shoo-in for the 80s ‘burger’ highlife style, and equally popular with Colombia’s burgeoning ‘picotero’ DJ sound systems. In fact this record is probably the perfect calling card for that innovative sound.To this day, he remains a leading source of inspiration to budding Ghanaian musicians and recording artists the world over.
A.K. YEBOAH - NDE YEN DAAK Yeboah- Antony ‘King’ Yeboah- began his career playing ‘classic’ highlife in the 1950s.Thirty years later, he hit upon the brilliant idea of writing songs in Pidgin, to attract a much wider listenership- especially among neighbouring Nigerians.Yeboah’s pan-African electric guitar style was a shoo-in for the 80s ‘burger’ highlife style, and equally popular with Colombia’s burgeoning ‘picotero’ DJ sound systems. In fact this record is probably the perfect calling card for that innovative sound.To this day, he remains a leading source of inspiration to budding Ghanaian musicians and recording artists the world over.
A.K. YEBOAH - NDE YEN DAAK Yeboah- Antony ‘King’ Yeboah- began his career playing ‘classic’ highlife in the 1950s.Thirty years later, he hit upon the brilliant idea of writing songs in Pidgin, to attract a much wider listenership- especially among neighbouring Nigerians.Yeboah’s pan-African electric guitar style was a shoo-in for the 80s ‘burger’ highlife style, and equally popular with Colombia’s burgeoning ‘picotero’ DJ sound systems. In fact this record is probably the perfect calling card for that innovative sound.To this day, he remains a leading source of inspiration to budding Ghanaian musicians and recording artists the world over.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Save the album here: https://orcd.co/mrceeMR CEE - NYE WONKOIn the 80s west African music scene, it was often the way that a talented musician, composer or singer would labour away at a series of obscure, under-financed, poorly engineered recording projects before hitting gold. Such seems to have been the narrative with the comparatively unknown but very talented songwriter/vocalist Charles Kwadwo Kwarteng: Mr Cee.Shortly before (or after- the dates aren’t clear) this excellent Ansona recording, Charles had released a self-produced ‘digital highlife’ album Kaba. To be absolutely candid, it had very little going for it: whilst Charles’ songs and lyrics were good, the tinny digital-only backing tracks didn’t really do the music any favours.Although still a sought-after album among digital music collectors, Kaba simply doesn’t have one-tenth of the force, creativity, and sheer engineering and musicianship excitement that Nye Wonko demonstrates in spades. In many respects this is a ‘classical’ highlife album in terms of style and performance, but blessed with a modern production and funky savoir- faire to place it fairly and squarely within the realms of the very best that burger highlife has to offer.This solidly engineered Ghana Films Studios production (who, according to popular opinion, had the best set-up by far at the time in Ghana) boasts an 11-piece studio band playing ‘real’ instruments, as well as a four-voice choir including the phenomenal Lady Talata, herself a prominent and prolific solo recording artist throughout ghana, Nigeria and benin at the time.On tenor sax we have Sammy Lartey ( Bongos Ikwue, Alex Konadu, Kyeremateng Stars Band and countless other high-profile sessions such as with Sidiku Buari’s band - see BBE’s reissue of Buari’s sought-after classic Feelings to hear more of this great tenor man, as well his contributions to the Jewel Ackah and Eric Agyemang Asona reissues in this series); on keyboards Pat Erskine (Pat Thomas, Jewel Ackah again, Pozo Hayes and many other top bands); Paa Akrashie on trumpet (Ebo Taylor, Alex Konadu, Edikanfo, Gyedu-Blay Ambolley); Kwaku ‘Lawyer’ Boateng on drums (African Brothers Band International, Nana Ampadu).And that’s just for starters. With such a star-studded orchestra, it’d be almost impossible to go wrong- and in fact, everything goes right. It’s the perfect example of ‘Old School meets New School’. Every track’s a winner.
Buy / Stream the album here: https://orcd.co/ayeyiTHOMAS FREMPONG - AYE YITHOMAS FREMPONG has been an integral part of the Ghana music scene for almost half a century. He’s played with countless line-ups, perhaps the most famous being The Noble Kings, who in the 60s introduced the sikyi highlife genre, which would define the ‘classic’ brass/woodwind/guitar highlife sound for decades to come.Frempong left Ghana for the UK in 1985, almost immediately signing with Asona records and producing two superb Burger highlife albums- this being the first.All four tracks develop the classic sikyi sound to fit modern dance sensibilities. Every track is a dancefloor powerhouse, although the title track is probably the best of a brilliant bunch.
Buy / Stream the album here: https://orcd.co/ayeyiTHOMAS FREMPONG - AYE YITHOMAS FREMPONG has been an integral part of the Ghana music scene for almost half a century. He’s played with countless line-ups, perhaps the most famous being The Noble Kings, who in the 60s introduced the sikyi highlife genre, which would define the ‘classic’ brass/woodwind/guitar highlife sound for decades to come.Frempong left Ghana for the UK in 1985, almost immediately signing with Asona records and producing two superb Burger highlife albums- this being the first.All four tracks develop the classic sikyi sound to fit modern dance sensibilities. Every track is a dancefloor powerhouse, although the title track is probably the best of a brilliant bunch.
Buy / Stream the album here: https://orcd.co/ayeyiTHOMAS FREMPONG - AYE YITHOMAS FREMPONG has been an integral part of the Ghana music scene for almost half a century. He’s played with countless line-ups, perhaps the most famous being The Noble Kings, who in the 60s introduced the sikyi highlife genre, which would define the ‘classic’ brass/woodwind/guitar highlife sound for decades to come.Frempong left Ghana for the UK in 1985, almost immediately signing with Asona records and producing two superb Burger highlife albums- this being the first.All four tracks develop the classic sikyi sound to fit modern dance sensibilities. Every track is a dancefloor powerhouse, although the title track is probably the best of a brilliant bunch.
Buy / Stream the album here: https://orcd.co/ayeyiTHOMAS FREMPONG - AYE YITHOMAS FREMPONG has been an integral part of the Ghana music scene for almost half a century. He’s played with countless line-ups, perhaps the most famous being The Noble Kings, who in the 60s introduced the sikyi highlife genre, which would define the ‘classic’ brass/woodwind/guitar highlife sound for decades to come.Frempong left Ghana for the UK in 1985, almost immediately signing with Asona records and producing two superb Burger highlife albums- this being the first.All four tracks develop the classic sikyi sound to fit modern dance sensibilities. Every track is a dancefloor powerhouse, although the title track is probably the best of a brilliant bunch.
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.
Buy / Stream the album here: https://orcd.co/electrichilifeJEWEL ACKAH - ELECTRIC HI-LIFETo many Ghanaians, Jewel Ackah’s name IS synonymous with feelgood, old-school highlife dance music, not least the anthem of Ghana’s National Democratic Congress, composed and performed by Jewel at the behest of the government, to much acclaim.This superb Asona disc, though, is carefully titled: because although it’s unmistakeably Burger-style, it also harks back to the old school brass-band highlife sound in more ways than one. Kwaku Fela’s loose’n’funky percussion style and the jazz-infused horn section make this a true keeper, with a sound all its own- even among other Burger discs.
Buy / Stream the album here: https://orcd.co/mebafieSAM YEBOAH - MEBA FIE - I'LL BE BACK HOMENot to be confused with professional footballer and top Ghana Premier League and Israeli Premier League goal-scorer of the same name, there is intriguingly little information available for the singer/songwriter/musician Sam Yeboah’s (almost) one-man-band burger highlife session, although the pedigree is impressive. Producer Osei Tutu was a mainstay of legendary Accra-based Bibini Records producer/promoter/ club owner Faisal Helwani, as well as producing classic sessions in Germany, London and Ghana from the likes of C.K. Mann, Ambolley, Kabbala and Sam’s Asona label-mate Nana Budjei. Osei was also a general creative force for Ambassador Records and Ghana Film Studios.
Buy / Stream it the album: https://orcd.co/afrikamanNANA BUDJEI - AFRIKAMANA true ‘Afro London’ session from the mid-80s: Ghanaian Jon K, himself a major force in modern African dance music generally with several solo albums of his own; gifted producer, Kenyan Dave Ravel (aka Yowell); and Sierre Leone’s finest guitarist Abdul Tee`Jay, with several solo albums to his credit also. The horn section is the work of Edifanko arranger/trumpeter Osei Tutu. Nana Budjei himself was a talented, under-the-radar vocalist and songwriter with just two known albums to his credit: and this one, trust us, is the better of the two.Versatlilty is the keyword of this album’s repertoire: from a Congolese style guitar riff (Afrikaman) through a reggae-highlife with a Southern Soul flavour (Asobrachie0, and onto a Trinidad-flavoured steel-drum electro riff (Ohia).
Rich Medina in Session At The BBE Store , London - September 7th 2023DJ's in session every weekend at The BBE Store. Head to the_bbe_store on Instagram to keep up to date with whats going down
Buy / Stream the album here: https://orcd.co/nakamuralocusJapan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/nakamuralocusJapan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/nakamuralocusJapan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/nakamuralocusJapan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/nakamuralocusJapan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/referencepointCurated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track compilation album features tracks the pair have played at their peripatetic, Europe wide events since 2012.Stretching from the 1970s to the present day the Reference Point compilation spans a whole range of genres, tempos, languages and grooves where the quality of music is paramount whether $1.00 bin records or $1000 rarities.Reference Point, 'a place to hear the music', is a truly trans-global album with music from Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private press albums, from artists who have played at Reference Point events and from currentartists such as MF Robots and Caixa Cubo.Releasing as a CD, digital and a double LP, Reference Point is another essential compilation from BBE Music and one that belongs in the collection of all collectors and lovers of great music.
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Stream the album here: https://orcd.co/childrensettingsunPaul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.In Paul Hillery's words:"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop,, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Buy / Saver the album here: https://orcd.co/ifmusic20Celebrating two decades of IF Music's scrupulous curation through its record shop,a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall IntoMe’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is amust-have and indeed, you really do need this!
Triple Grammy nominee and US vocalist Raheem DeVaughan joins Boddhi Satva for this Afrobeats tinged slice of RnB in a track that pulls in influences as diverse as DeVaughan's New Jersey and Washington DC upbringings and Boddhi Satva's pan-African, Ancestral Soul cultural sensibilities.
Taken from Boddhi Satva's collaborative Manifestation album, Finesse Me is a track that will grace the radio airwaves and the dancefloor with its wonderful vocal performance and lilting melody laid over tuff beats.
Raheem DeVaughan's own musical history comes from an impressive lineage as the son of Jazz and Classical cellist Abdul Wadud and cousin of Grammy winning Soul vocalist Chrisette Michele. His own successes can be heard via his prolific output of eight studio albums plus two more collaborative album releases with Apollo Soul and Bee Boy$oul respectively, his BET Awards and Grammy nominations.
Boddhi Satva's Manifestation project is an album that thrives on collaborations with other artists to create a soundscape of Black music styles and genres that blend to create a melange of genres. Finesse Me is a track that fuses Afrobeats with a traditional US RnB style to massively impressive effect.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.
Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘1⁄4 Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release.
On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid- 1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971. A pioneer of synthesizer, and among the first to popularise fusion in Japan, Fukamachi has composed and produced numerous recordings embracing jazz, fusion, funk, rock, and classical. An internationally recognised figure, Fukamachi worked with Anthony Jackson, David Sanborn, Randy and Michael Brecker, Mike Mainieri, Steve Gadd, and Richard Tee. Percussionist Tatsuji Yokoyama has worked across Japanese jazz and fusion since the 1970s appearing on albums from the likes of Masahiko Togashi, Takao Uematsu, Mikio Masuda, Toshiyuki Honda, Yuji Ohno and Shigeharu Mukai.
Tatsuya Nakamura continues to record and play live with many musicians including The New York Unit, and has toured extensively across Africa, Senegal, Morocco, Turkey, Australia and Indonesia. He remains active to this day, recording and touring with his band Japan Jazz Unit.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Taken from his 2022 BBE/Batakari released album 'Manifestation', Afro-House pioneer Boddhi Satva releases his Moda Boddhi collaboration with Dino D'Santiago as a digital single. A striking combination of Afro House and Morna inspired melody and vocals, Modha Boddhi is a Lusophonian link between peoples and cultures and a shining embodiment of the collaborative philosophy behind Boddhi Satvas Manifestation album.
Labelled as the Godfather of Ancestral Soul, Boddhi Satva weaves a seamless tapestry between a plethora of African music styles that include his own cultural references from the Central African Republic to his use of instrumentation from his home continent as well as those traditionally classed as 'European'. His ability to fuse the sounds of the Kora and Balafon with Flute, Sax and DJ turntables and to inter-mingle Congolese Rumba with West African and Afro-Cuban rhythms is central to his music. It is no wonder then that Boddhi Satva loves to collaborate with guest musicians such as Dino D'Santiago, who bring their own cultural mix to the party.
Dino D'Santiago is a Portuguese born singer of Capo Verdean parents who had moved to Portugal from their home island of Santiago. It was the against the backdrop of the Portuguese Hip-Hop scene, his involvement in a church choir, the influx of peoples from Angola, Mozambique, Sao Tome and his Capo Verde cultural heritage that allowed Dino to flourish as a composer, musician and vocalist in his multi-cultural home parish of Quarteira. Indeed it was Hip-Hop outfits such as Da Weasel who asked Dino to create hooks for their tracks.
Manifestation is an album with over 30 artists collaborating with Boddhi Satva's genius production values and Moda Boddhi is a track that allows Boddhi Satva and Dino D'Santiago to combine their influences in a track of absolute beauty.
Buy / Stream it here: https://orcd.co/brianjacksonmamiwata
"Mami Wata" - A Captivating Journey through West African Rhythms.
Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent.
Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures.
To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor.
This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences.
The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.
Buy / Stream the album here: https://orcd.co/childrensettingsun
Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music.
With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers.
Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul.
With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music.
In Paul Hillery's words:
"Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all.
An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"
Buy / Save it here: https://orcd.co/boddhisatvabusysignal
Get ready for an electrifying collaboration between the trailblazing Ancestral Soul pioneer, Boddhi Satva, and the dancehall legend, Busy Signal. Prepare to be captivated by their scintillating dance floor filler, "Girls," set to ignite nightclubs worldwide this summer. With Busy Signal's unparalleled ability to seamlessly blend reggae, dancehall, and various genres, the track showcases his distinctive sound that has garnered him global recognition. Boddhi Satva's masterful production provides the perfect backdrop for Busy Signal to serenade the girls of the world, revealing his remarkable vocal range on this ancestral soulinfused masterpiece.
Brace yourself for a mesmerizing experience that will make its mark in dancehalls, dominate the airwaves, and become an undeniable sensation in nightclubs.
While "Girls" is set for a digital release, this collaboration between Busy and Boddhi is just the beginning of what promises to be an exhilarating musical partnership.
The phenomenal compilation 'Yebo!' from BBE, curated by John Armstrong, features a remarkable selection of 80s Mzansi boogie, disco, and bubblegum tunes. Among the standout tracks in the collection is 'Blackout' by the legendary boogie bubblegum duo Tools & Figs. To add a modern twist to the track, BBE enlisted the expertise of renowned Brisbane-based DJ, producer, Worldwide FM radio host, and The Middle Name Dance Band member Sam Poggioli, also known as Sampology. The result is an extended re-edit that not only embraces the original's essence but infuses it with a fresh early-2000s South African House/Euro House vibe.
The tune, recorded in 1991 by the On Records crew at Jo'burg's Cottage Recording Studio, has been masterfully reworked by Sampology, who focuses on Ronnie Robot's electrifying bass loop and Lady Thuli aka Figs' multi-layered vocals, resulting in a dynamic remix that's sure to resonate with listeners. The tune, recorded in 1991 by the On Records crew at Jo'burg's Cottage Recording Studio, has been masterfully reworked by Sampology, who focuses on Ronnie Robot's electrifying bass loop and Lady Thuli aka Figs' multi-layered vocals, resulting in a dynamic remix that's sure to resonate with listeners.
Buy / Save it here: https://orcd.co/boddhisatvabusysignal
Get ready for an electrifying collaboration between the trailblazing Ancestral Soul pioneer, Boddhi Satva, and the dancehall legend, Busy Signal. Prepare to be captivated by their scintillating dance floor filler, "Girls," set to ignite nightclubs worldwide this summer. With Busy Signal's unparalleled ability to seamlessly blend reggae, dancehall, and various genres, the track showcases his distinctive sound that has garnered him global recognition. Boddhi Satva's masterful production provides the perfect backdrop for Busy Signal to serenade the girls of the world, revealing his remarkable vocal range on this ancestral soulinfused masterpiece.
Brace yourself for a mesmerizing experience that will make its mark in dancehalls, dominate the airwaves, and become an undeniable sensation in nightclubs.
While "Girls" is set for a digital release, this collaboration between Busy and Boddhi is just the beginning of what promises to be an exhilarating musical partnership.
Buy / Stream it here: orcd.co/notraffic
Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey.
Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with.
Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks.
The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe.
'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."
Buy / Stream it here: orcd.co/notraffic
Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey.
Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with.
Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks.
The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe.
'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."
Buy / Stream it here: https://orcd.co/notraffic
Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey.
Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with.
Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks.
The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe.
'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm." credits
Buy / Saver the album here: https://orcd.co/ifmusic20
Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude.
Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall Into Me’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day.
It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album.
As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is a must-have and indeed, you really do need this!
Buy the 12" vinyl here / Stream the full EP
In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass.
Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving.
The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track.
With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms.
It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem.
In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance.
Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.
Buy the 12" vinyl here / Stream the full EP
In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass.
Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving.
The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track.
With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms.
It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem.
In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance.
Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.
Buy the 12" vinyl here / Stream the full EP
In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass.
Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving.
The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track.
With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms.
It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem.
In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance.
Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.
Buy the 12" vinyl here / Stream the full EP
In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass.
Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving.
The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track.
With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms.
It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem.
In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance.
Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.
Buy / Save it here: https://orcd.co/boddhisatvabusysignal
Get ready for an electrifying collaboration between the trailblazing Ancestral Soul pioneer, Boddhi Satva, and the dancehall legend, Busy Signal. Prepare to be captivated by their scintillating dance floor filler, "Girls," set to ignite nightclubs worldwide this summer. With Busy Signal's unparalleled ability to seamlessly blend reggae, dancehall, and various genres, the track showcases his distinctive sound that has garnered him global recognition. Boddhi Satva's masterful production provides the perfect backdrop for Busy Signal to serenade the girls of the world, revealing his remarkable vocal range on this ancestral soulinfused masterpiece.
Brace yourself for a mesmerizing experience that will make its mark in dancehalls, dominate the airwaves, and become an undeniable sensation in nightclubs.
While "Girls" is set for a digital release, this collaboration between Busy and Boddhi is just the beginning of what promises to be an exhilarating musical partnership.
Blending the influences of traditional folk songs from his native Ahwaz city in Iran with the multitudinous melange of musical styles to be found in the London he has lived in since the age of five, Iman Houssein is a composer and songwriter who is part of the new wave of musical creatives emerging in the global artistic conversation.
His debut release on BBE is a two track digital EP leading with the sensitive and tender vocal on House of Light and backed with the Chick Corea and Theo Parish inspired instrumental track, Theodora. House of light, through the poetry of the lyrics juxtaposed over the backdrop of its sublime and deep toned beats, captures the emotion of seeing and feeling the Creator in the one you love.
Theodora is a more up-tempo instrumental that channels the freedom and virtuosity of a Chick Corea composition with a multi-genre production that is reminiscent of the blending of styles in a Theo Parrish production.
Releasing as a digital, Theodora/House of Light fuses Hip-Hop and RnB with flavours of Jazz, Neo-Soul and House to create an introduction to an artist, producer and composer we all are preparing for. credits
Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz.
Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz.
Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series.
The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming.
On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today.
This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz.
Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz.
Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series.
The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming.
On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today.
This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz.
Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz.
Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series.
The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming.
On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today.
This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz.
Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz.
Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series.
The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming.
On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today.
This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Japanese master drummer Takeo Moriyama returns to BBE Music’s J Jazz Masterclass Series in a majestic live set showcasing his exemplary musicianship and stature as one of the leading names in Japanese modern jazz.
Recorded in December 1990 at the jazz club Lovely in Nagoya, this set sees Moriyama’s quartet deliver an exemplary session of the finest modal, post-bop and spiritual jazz.
Moriyama is backed by long-time colleague Fumio Itabashi on piano and the group perform a stunning rendition of Itabashi’s classic ‘Watarase’, revisiting the track they first recorded on Moriyama’s 1981 ‘Smile’ album. Demonstrating his range as a composer, Itabashi penned four of the five tracks on this album. ‘Live at Lovely’ also features regular bassist Hideaki Mochizuki and tenor saxophonist Toshihiko Inoue, who also feature on Moriyama’s ‘East Plants’ album, previously reissued in the J Jazz Masterclass Series.
The quartet’s communication and interplay are revelatory, each player listening closely and finding their own space within the richly textured music. The album opens with ‘Sunrise’, a blast of blistering unrestrained post-bop, with Toshihiko Inoue’s strident horn motif and Itabashi’s commanding piano underpinned by Hideaki Mochizuki’s thunderous bass and Moriyama’s relentlessly authoritative and expressive drumming.
On ‘Exchange’, another Itabashi composition, the quartet up the energy level even further, pushing to the edge of free jazz but maintaining enough structure to keep it together as they race headlong into a 20 minute epic that leaves the listener as out of breath as the band. Every track on ‘Live at Lovely’ stands by themselves, but taken together, it’s an extraordinary listening experience that demonstrates the calibre of the Japanese jazz players who emerged in the 1970s and who, like Moriyama and Itabashi, continue to perform today.
This special double vinyl edition is mastered by the Grammy-nominated Carvery and is the first ever reissue since the album’s original Japan only CD release in 1991 and comes with a translation of the original notes plus a new sleeve note by Tony Higgins.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream the album here: https://orcd.co/yebo
- THE APARTHEID BOYCOTT In the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.
But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.
Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.
- UNIQUE DIVERSITY Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases.
But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.
There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.
And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.
- MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT… …exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.
The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa.
‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Blending the influences of traditional folk songs from his native Ahwaz city in Iran with the multitudinous melange of musical styles to be found in the London he has lived in since the age of five, Iman Houssein is a composer and songwriter who is part of the new wave of musical creatives emerging in the global artistic conversation.
His debut release on BBE is a two track digital EP leading with the sensitive and tender vocal on House of Light and backed with the Chick Corea and Theo Parish inspired instrumental track, Theodora. House of light, through the poetry of the lyrics juxtaposed over the backdrop of its sublime and deep toned beats, captures the emotion of seeing and feeling the Creator in the one you love.
Theodora is a more up-tempo instrumental that channels the freedom and virtuosity of a Chick Corea composition with a multi-genre production that is reminiscent of the blending of styles in a Theo Parrish production.
Releasing as a digital, Theodora/House of Light fuses Hip-Hop and RnB with flavours of Jazz, Neo-Soul and House to create an introduction to an artist, producer and composer we all are preparing for. credits
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music.
Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors.
Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers Gieri Bievi and Peter 'Huck' Hug and bassist Andri A Piorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects.
It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both vinyl and high quality digital formats.
Get Down with Illa J and Amp Fiddler. Introducing Illa J’s second single “Get Down.” This track offers a glimpse into the creative life of John Yancey, a versatile artist known for his skills as both a rapper and singer-songwriter. “Get Down” is from his upcoming album “No Traffic,” which is entirely written and produced by Illa J himself.
On this soulful track, Illa J is joined by Detroit legend Amp Fiddler on the hook. Fiddler’s contributions to the music industry are vast, having worked with some of the biggest names in the business, including Prince, Moodymann, and J Dilla. Speaking of J Dilla, it’s a ‘Fantastic’ fact that Amp Fiddler is credited with introducing Illa J’s older brother to the Akai MPC in the ’90s? That revolutionary moment changed the direction of music forever.
But let’s get back to Illa J’s lyrical prowess. In “Get Down,” John’s playful style and delivery are on full display as he runs through various aliases from JohnClef to JohnDWayne. With this track, Illa J showcases his musical versatility and gives listeners a glimpse into his world and creative processes. As the chorus says: “They Don’t Know,” and this is your chance to find out.
If you’re a fan of Illa J, don’t miss the chance to pre-order “No Traffic,” his first solo album on the iconic label BBE Music. And if you’re new to his music, “Get Down” is the perfect introduction to this talented artist. Finally, you can rest assured that this track is mastered with love by the Carvery Studios. So what are you waiting for? Get down with Illa J and Amp Fiddler today!
Get Down with Illa J and Amp Fiddler. Introducing Illa J’s second single “Get Down.” This track offers a glimpse into the creative life of John Yancey, a versatile artist known for his skills as both a rapper and singer-songwriter. “Get Down” is from his upcoming album “No Traffic,” which is entirely written and produced by Illa J himself.
On this soulful track, Illa J is joined by Detroit legend Amp Fiddler on the hook. Fiddler’s contributions to the music industry are vast, having worked with some of the biggest names in the business, including Prince, Moodymann, and J Dilla. Speaking of J Dilla, it’s a ‘Fantastic’ fact that Amp Fiddler is credited with introducing Illa J’s older brother to the Akai MPC in the ’90s? That revolutionary moment changed the direction of music forever.
But let’s get back to Illa J’s lyrical prowess. In “Get Down,” John’s playful style and delivery are on full display as he runs through various aliases from JohnClef to JohnDWayne. With this track, Illa J showcases his musical versatility and gives listeners a glimpse into his world and creative processes. As the chorus says: “They Don’t Know,” and this is your chance to find out.
If you’re a fan of Illa J, don’t miss the chance to pre-order “No Traffic,” his first solo album on the iconic label BBE Music. And if you’re new to his music, “Get Down” is the perfect introduction to this talented artist. Finally, you can rest assured that this track is mastered with love by the Carvery Studios. So what are you waiting for? Get down with Illa J and Amp Fiddler today!
Buy the 12" vinyl here / Stream the full EPIn the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) onkeyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass.Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloormoving.The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with thehelp of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track.With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms.It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, thistrack is sure to become a dance floor anthem.In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance.Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Buy / Save it here: https://orcd.co/smallaxesIntroducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Buy / Stream the album here: https://orcd.co/yebo1. THE APARTHEID BOYCOTTIn the 80s, the world – rightly – stepped up its boycott against South Africa’s apartheid government.But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers.Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk.2. UNIQUE DIVERSITYProducing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineersand producers in the world, the jazz players rivalling their American peers in many cases.But what makes Mzansi 80s popular music unique is that it had to – and, for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size.There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well asShangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone… and so on.And everyone -detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description.3. MZANSI TOOK DISCO- AND SLOWED IT DOWN A BIT……exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later Amapiano.The Roland TR-707 sampler came along in 1985 – at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it becamesomething unique to South Africa.‘Yebo! Rare Mzansi Party Beats from Apartheid’s Dying Years’ compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Get Down with Illa J and Amp Fiddler. Introducing Illa J’s second single “Get Down.” This track offers a glimpse into the creative life of John Yancey, a versatile artist known for his skills as both a rapper and singer-songwriter. “Get Down” is from his upcoming album “No Traffic,” which is entirely written and produced by Illa J himself.On this soulful track, Illa J is joined by Detroit legend Amp Fiddler on the hook. Fiddler’s contributions to the music industry are vast, having worked with some of the biggest names in the business, including Prince, Moodymann, and J Dilla. Speaking of J Dilla, it’s a ‘Fantastic’ fact that Amp Fiddler is credited with introducing Illa J’s older brother to the Akai MPC in the ’90s? That revolutionary moment changed the direction of music forever.But let’s get back to Illa J’s lyrical prowess. In “Get Down,” John’s playful style and delivery are on full display as he runs through various aliases from JohnClef to JohnDWayne. With this track, Illa J showcases his musical versatility and gives listeners a glimpse into his world and creative processes. As the chorus says: “They Don’t Know,” and this is your chance to find out.If you’re a fan of Illa J, don’t miss the chance to pre-order “No Traffic,” his first solo album on the iconic label BBE Music. And if you’re new to his music, “Get Down” is the perfect introduction to this talented artist. Finally, you can rest assured that this track is mastered with love by the Carvery Studios. So what are you waiting for? Get down with Illa J and Amp Fiddler today!
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/insideourselvesAs part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere.Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself.Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings.Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military.A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster.While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.Format: Digital / 2LP
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Kirk Degiorgio presents a fantastic mix of library jazz to prepare us for his upcoming album Modal Forces / Percussive Forces. Some great breaks, loops and more in here for you audiophiles.Event Info Below🔥 Get ready for an unforgettable night as renowned electronic music pioneer, Kirk Degiorgio, hosts an exclusive FREE album launch party at The BBE Store for his ground-breaking new record, "Modal Forces & Percussive Forces"! 🎶Join us at this must-attend event at BBE Music Record Store, where the legend himself will take you on a sonic journey through his fusion of jazz, techno, and soul. With a career spanning over three decades, Kirk has worked with iconic artists such as Carl Craig, Autechre, and Derrick May, and has been hailed as one of the most innovative producers in the game.Take this rare opportunity to experience the electrifying atmosphere, as Kirk Degiorgio brings his signature sound to life with an immersive live performance. Prepare to have your mind blown by his masterful blend of cutting-edge beats and hypnotic grooves! 🎧Space is limited, so secure your spot now and be part of this phenomenal celebration of music, artistry, and innovation. Trust us - this is one party you won't want to miss! 🚀🔗 RSVP now on Eventbrite and dive into the world of Kirk Degiorgio's "Modal Forces & Percussive Forces"! #KirkDegiorgio #AlbumLaunchParty
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Introducing Kris Tidjan's debut album, "Small Axes"! This soul-jazz and Afro-beat infused LP takes listeners on a journey through Tidjan's Martinique heritage and contemporary broken beat and jazz influences from Philly to Detroit. The artist's unique and unorthodox approach to writing will transport you to a world of peacefulness and aerial feeling, leaving you relishing a re-listen to the album.From the opening track, "Dazzling Ribbon," we are moved through a colorful world where we discover a passage to become an etheric substance. The album continues with "Incarnated," a powerful wake-up call that draws attention to the non-sense of perpetual oppression endured by melanated bodies. "Little Giant" explores the growth and evolution of children in urban environments, while "Lords of War" was inspired by a statement made by George Bush Senior in 1990."KATIOPA" is a standout track on the album, a product of Tidjan's 2005 collaboration with his cousin Jeremie Ornem and the label "APOLLOJAZZ". This track, like the entire album, features the talents of a diverse group of musicians including Mauro Pandolfino, Stefan Mercurio, Alain Rosine, Zoran Terzic, Scabolcs Bognar, Regis Molino, Thierry Banaré, Guido Ott, Michael Love and Simone Lagrand.Tidjan is heavily influenced by the renaissance of black music, where music and message often came packaged together. Artists like Coltrane, Fela Kuti, Sun Ra, Ohio Player, Mulatu Astatke, Oneness of Juju, Maalem Mahmoud Ghania, Al Green were all examples of how message and music can combine to change the status quo. These sounds have all combined in Kris Tidjan’s mind to inform the music he makes today.Tidjan’s music demonstrates a revival of a renaissance period, deeply informed by the sounds of artists such as Coltrane, Fela Kuti, Sun Ra, and Al Green, out of a sense of ancestral healing and expression.He says: "I named my album "Small Axes" as an homage to Robert Nesta Marley. The message of unity in Marley's music inspired me, and I believe that the power of togetherness should be promoted and embraced by all individuals and groups. I referenced Bob Marleyin the first single "Lords of War" as a way to further pay homage to his message of unity and to encourage people to come together to achieve great things.""Small Axes" is a powerful debut album that showcases Tidjan's unique and unorthodox approach to music. Don't miss out on this soul-jazz and Afro-beat infused journey, get your copy of "Small Axes" today!
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream the album here: https://orcd.co/ragaroneA wonderful album full of Balearic vibes, funky riffs and mellow moments, originally released in 1980.BBE Music are excited to announce this highly sought after album titled ‘Will & James Ragar One” which will be reissued on Vinyl and CD as well as across digital platforms.James and Will Ragar hail from Louisiana, where their early education into music began. At a young age they moved to New Orleans - where they heard live Jazz for the first time. This inspiration is demonstrated through their free approach to this album.Their natural evolution through the Louisiana club scene saw them develop and hone their talents of adding that southern swag to covers they did, almost making them their own.‘Will and James Ragar One’ is a blend of acoustic and electric tones, carefully and cohesively put together by the brothers.‘As the Day Grows Tired’ is the first song on the album and one of the first songs James wrote.The theme for ‘She’s Laughter’ is about returning home to someone you love and features a heavy guitar solo. ‘My Shining Sun’ has an unusual jazz form and is an ode to the joy of playing music. ‘Don’t Wish’ was inspired by a jazz chord progression that was a favourite, James played the solo on a pearwood soprano recorder. Gary Roberts played percussion on the session and also played the flute on ‘Just a Wanderer’.
Get ready for a soulful collaboration that’s about to take the music world by storm! Illa J, the American rapper, singer, and producer, teams up with rising UK soul star Harleighblu in their latest single, “Not Ever.”This track is the lead single from Illa J’s highly-anticipated album, “No Traffic,” and is already making waves in the music industry. The album, set to be released on the iconic label BBE Music, is a milestone for Illa J as it is his first album where all tracks are entirely produced, written, and performed by himself.Illa J is a true music prodigy, raised in a family surrounded by music and heavily influenced by his father, a jazz bassist, and his mother, a talented singer. Best known for being the younger brother of the late hip-hop legend J Dilla, Illa J is a former member of the iconic Detroit hip-hop group Slum Village.Harleighblu, on the other hand, is a Nottingham (UK) native who developed a love for soul music at a young age. She draws inspiration from legends such as Aretha Franklin, Erykah Badu, and Lauryn Hill, and her unique blend of soul, hip-hop, and jazz has made her one of the most exciting artists in the UK soul scene.Together, Illa J and Harleighblu bring a fresh and exciting sound to “Not Ever.” Illa J’s production skills are on full display throughout the album, particularly on this track, where his choice of synths and drums creates a playful and bouncy beat. Harleighblu’s soulful and powerful vocals add a contemporary ‘Floetic’ style to the lyrics, warning of the dangers of the ‘side chick’.The chemistry between the two artists is undeniable, having collaborated for years, and their talents are perfectly showcased in “Not Ever.” Get ready to add this track to your playlist and be sure to check out Illa J’s upcoming album, “No Traffic.”
Buy / Stream it here: https://orcd.co/kirkdegiorgioLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analogue synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contribution of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.The Library album was predominant in TV and film studios in Italy and France with composers creating background, incidental and scene music for use in TV and movie production. In recreating the sound library format Kirk Degiorgio has revelled in both the creative freedom and the test of melodic capability that the short form of the Library album allows. As Kirk says, ‘the skill with this kind of composing is to be able to express your ideas and thoughts in a maximum of two minutes at a time.’Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and ‘Shoom’ and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy/Stream the album here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.
Buy / Stream it here: https://orcd.co/firewathmAre you ready to be swept away by Alina Bzhezhinska & HipHarpCollective’s iconic rendition of Fire?BBE Music presents the remixed version off the critically acclaimed Jazz album ‘Reflections’, crafted by the award-winning Harv-inder Singh also known as DJ Harv alongside his partner in studio Sub One of We Are The Horsemen fame.Mastered with love by Grammy award nominated The Carvery Studios, this infectious house-themed version of Joe Henderson and Alice Coltrane's classic track will take you on a journey of musical discovery. Immerse yourself in Alina and We Are The Horsemen's reimagining of Fire today! Bzhezhinska's music is a unique blend of classical, jazz, and avant- garde influences, and she has been praised for her expressive and intricate playing. She has appeared at major festivals and venues across Europe, the US, and Japan, as well as an iconic performance at Maida Vale Studios for BBC Sounds. Her music is both ambitious and accessible, and she is a passionate advocate for the harp's potential as a modern instrument. This remix of Fire transforms this much loved Jazz classic into a dancefloor filler, worthy of a place in any worthwhile DJ’s pen drive. DJ Harv (We Are The Horsemen) is an award-winning London-based DJ and producer. He has been producing and DJing for over 20 years, and has established himself as one of the most respected and innovative DJs on the UK music scene. His blend of styles and sounds, from house to hip-hop, Jazz to Afro Latino, His Outernational Sounds & Record Label have made him one of the most sought after DJs. He has performed at some of the biggest festivals and clubs around the world and has released a number of successful records. His music has been featured on BBC Radio 1, 6 Music and has been supported by artists like Skream, Annie Mac, Gilles Peterson and many more. He is an active member of the underground music scene and continues to push boundaries with his unique and forward thinking approach to music.This collaboration is definitely one to savor for all occasions, a wonderful reimagination of Alice Coltrane and Joe Henderson’s iconic track.
Buy / Stream it here: https://orcd.co/firewathmAre you ready to be swept away by Alina Bzhezhinska & HipHarpCollective’s iconic rendition of Fire?BBE Music presents the remixed version off the critically acclaimed Jazz album ‘Reflections’, crafted by the award-winning Harv-inder Singh also known as DJ Harv alongside his partner in studio Sub One of We Are The Horsemen fame.Mastered with love by Grammy award nominated The Carvery Studios, this infectious house-themed version of Joe Henderson and Alice Coltrane's classic track will take you on a journey of musical discovery. Immerse yourself in Alina and We Are The Horsemen's reimagining of Fire today! Bzhezhinska's music is a unique blend of classical, jazz, and avant- garde influences, and she has been praised for her expressive and intricate playing. She has appeared at major festivals and venues across Europe, the US, and Japan, as well as an iconic performance at Maida Vale Studios for BBC Sounds. Her music is both ambitious and accessible, and she is a passionate advocate for the harp's potential as a modern instrument. This remix of Fire transforms this much loved Jazz classic into a dancefloor filler, worthy of a place in any worthwhile DJ’s pen drive. DJ Harv (We Are The Horsemen) is an award-winning London-based DJ and producer. He has been producing and DJing for over 20 years, and has established himself as one of the most respected and innovative DJs on the UK music scene. His blend of styles and sounds, from house to hip-hop, Jazz to Afro Latino, His Outernational Sounds & Record Label have made him one of the most sought after DJs. He has performed at some of the biggest festivals and clubs around the world and has released a number of successful records. His music has been featured on BBC Radio 1, 6 Music and has been supported by artists like Skream, Annie Mac, Gilles Peterson and many more. He is an active member of the underground music scene and continues to push boundaries with his unique and forward thinking approach to music.This collaboration is definitely one to savor for all occasions, a wonderful reimagination of Alice Coltrane and Joe Henderson’s iconic track.
Click here to check out Paul Hillery's 'We Are The Children Of The Sun' series on BBE - Available on Vinyl/CD/Digital https://bbemusic.com/artist/paul-hilleryGather together beneath the sun as we journey through the rhythmic sands of time with a handpicked and commingled mix by Paul Hillery. Exclusive for BBE Music, it celebrates the release of their new compilation 'Once Again We Are The Children Of The Sun'. The mix is a deep dive into the 'We Are The Children Of The Sun' series and more. With a few specially selected tracks thrown in, it is a 2-hour trip through time and space. So dip your toes into crystal blue waters while the sound of trippy troubadours drift on a Balearic breeze. Tune in as we sail to joyful places and wide-open spaces while dropping out to a folk-funk pulse that connects us in shamanic shuffle. A reminder that we have more to connect than drive us apart. We are all made of stardust, for . . . 'Once Again We Are The Children Of The Sun' Paul Hillery, a heathen, conceivably, but not, we hope, an unenlightened one, is the man behind the acclaimed BBE series 'We Are The Children Of The Sun' and curator at 'Folk Funk & Trippy Troubadours' with a knack for unearthing rare and previously lost gems. Tracklist :1. In-Passing by Kimberle2. Footprints by Carl & Joanne Barry3. Wet Dreams by Floyd Hunchback Group4. Summer Breeze by The Kureks5. Come And Take Me By The Hand by Varela6. Sunday Morning by Pixie Lauer7. I Run Too by Peter Berkow & Friends8. Flow by Gabriel Gladstar9. Letters by Robin Woodland10. Mojave by Hardin & Russell11. Land of Wonder by Marla Fant12. Do You Know by Douglas Penn13. Be With Me by Pat Rahming14. October Country by Michael McGinnis15. Nowhere by Cy Timmons16. Fields Of Green by Carm Mascarenhas17. Coloured Butterfly by Inter-Groupie Psychotherapeutic Elastic Band18. (There's) Always Something To Remind Me by Alejandro Bravo19. Jasmim Parte 1 by Gabriel da Rosa20. Woodstock by Robby Barnes21. Guru by Shlomo Gronich, Shlomo Yidov & Shem Tov Levi22. Just A Thought by Just Us23. Vouloir by Jennifer Souza24. Chocolate by Ana Frango Elétrico25. Golden Hour by Aria Rostami26. Cherry Blossom Oak by Christian Besa Wright27. As The Day Grows Tired by Will & James Ragar28. Nur Gitarre by Bescay + Jochen Schrumpf29. The Shadows Dance by Graeme Gash30. Over & Over by Andy Davis31. More Than Hope by Wendy Grace32. If Life Was A Ferris Wheel by Mark Capanni
Buy / Stream it here: https://orcd.co/jazzroom2Welcome to the 2nd Volume of the Jazz Room series compiled by DJ legend and label owner Paul Murphy.Following on from the success of the original Jazz Room compilation released by BBE in 2019 Paul has compiled a double vinyl volume of Jazz dance tracks that range from heavy funk of New Orleans to Latin grooves and contemporary jazz from the new generation.Tracks written by Dizzy Gillespie sit with those from the musical pens of Raul Monsalve and Fela Kuti.Paul's own label, Jazz Room Records, specialises in re-issues and it is his expertise in finding the rare and the obscure and matching with the new and the fresh that creates the joy filled atmosphere on this compilation.This album really is as much for the party people as it it for the headz and links the audiences from his legendary gigs in the 1970s and 80s at the Electric Ballroom, 100 Club and The Blue Note to those at his current appearances at Spiritland, Shiftless Shuffle andBrilliant Corners.Indeed, among the rarities and the global rhythms in this collection are some excellent cover versions of tracks from the aforementioned Fela Kuti, The Stranglers, Azymuth and The Human League (yes, The Human League). What Paul Murphy has done here is compile a selection of tracks that could easily be a DJ club set, a soundtrack to a party, a Summer festival highlight or a night of music appreciation with a favourite tipple and partner.The Jazz Room Volume 2 is a must have compilation and, along with Volume 1, is a masterpiece of music curation.
Buy / Stream the album here: https://orcd.co/approachBBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy.
Buy / Stream it here: https://orcd.co/beershebaLike a long-lost Holy Grail album from the mid-seventies, Kirk Degiorgio’s latest project, Modal Forces / Percussive Forces, explores both Modal Jazz and Seventies Jazz Fusion in the Library album format. Side One swings with a vengeance with its tight arrangements built around acoustic bass, electric piano and glorious analog synth leads and side 2 takes us on a journey of funk fuelled, percussive workouts and heavy breaks. The contributions of renowned session drummer Chris Whitten adds to the authenticity of the album as does the use of vintage, analog synths.Now, as a taster of what's to come on this album, BBE is releasing Beersheba as the first single from the project. In true library music style Beersheba comes in at less than 4 minutes but manages to create an atmosphere and a story. With the keys overlaying a melody and a refrain on top of a bass and drum break rhythm this track not only paints a picture but also builds to a lovely mid-tempo dancefloor groove that tantalises the listener as to what the next track will be.Kirk Degiorgio is a DJ, composer and music lover whose influences, from family and then going out to clubs from under-18 discos to attending the Belvedere Arms and 'Shoom' and working in Reckless Records, cover all genres of Black music. From Soul, Jazz-Funk, Funk and then House and Detroit Techno Kirk has a love and an appreciation for how all these sounds work together and evolve from each other.
Buy / Stream it here: https://orcd.co/remikabakaBBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
Buy / Stream it here: https://orcd.co/onceagainchildrenGather together beneath the sun as we journey through the rhythmic sands of time, Paul Hillery, an esteemed collector and vinyl hunter, presents his follow-up to the highly acclaimed ‘We Are The Children Of The Sun‘. Andrew Male of MOJO Magazine calls the album “One of the most emotionally uplifting and hazily beautiful compilations of recent years.”“Once Again We Are The Children Of The Sun” is a shimmering collection of rare finds, reminding us that we have more to connect us than to divide us. The music encompasses a broad range of sounds, starting in Cajun country with Will & James Ragar, their handmade acoustic guitars allowing for soaring vocals. Along with many of the tracks featured on this compilation, “As the Day Grows Tired” is reissued on vinyl for the first time.Experience the previously unreleased cover of “Milk and Honey” featuring Kat Barnard and Greg Foat, a versatile mainstay of the UK jazz scene. Discover the first-ever vinyl release of “Kayenta Crossing” by William Eaton Ensemble, capturing the austere presence of Monument Valley. Immerse yourself in Wendy Grace’s jazz-folk masterpiece “More Than Hope” and the acoustic ambience of “Golden Hour” by Aria Rostami.Paul Hillery and BBE present a compilation of styles and genres, fusing together to make private press wants accessible as a springboard for further listening pleasures. “Once Again We Are the Children of the Sun” is an eclectic selection mixing styles, year and tempo, painstakingly gathered and presented with a great deal of love.CHOOSE FROM A LIST OF STORES AND SERVICES
Kris Tidjan’s first single off his debut album, "Lords of War" is an epic and dynamic track that showcases his unique blend of ‘soulful defiance’."Lords of War'' is a powerful and thought-provoking track that addresses the destructive nature of war and its impact on society. Writing began in 2005 as a response to Geoge ‘OG’ Bush’s speech from 1990. The song features Tidjan's signature soulful vocals and broken beat jazz riffs. In true afrobeats style the song encompasses many syncopations which seamlessly weave in and out of each other.‘Lords of War’ is designed to shift perspectives by encouraging listeners to think critically about the purpose of war, and also to visualize a more peaceful world. ‘...We are the small axe ready to cut them down’ is a constant reminder to the power that the individual has to change big things.Kris Tidjan has been a prominent figure in the French music industry for over a decade, and has released several successful EPs and singles. He is known for his emotive lyrics, soulful vocals, and dynamic live performances."Lords of War" is the first single from Kris Tidjan's debut album ‘Small Axes’, which is set to be released later this year on BBE Music. Fans can expect more paradigm shifting and thought-provoking music from Kris Tidjan in the coming months.
Buy it here on LP/CD/Digital: https://orcd.co/forestbbeLong lost and much sought after Private Press from Western Massachusetts band Forest.A distinctive Acid-Jazz / crossover AOR / Soul sound, think Mother Earth jamming with Tim Buckley. This re-issue comes with 6 previously unreleased tracks.Forest was a rarity at the time in a band that consisted of two drummers, Gary Stevens and Bob "Rox" Girouard .The band was a well seasoned touring band who shared the bill with the likes of The Fabulous Rhinestones, The James Montgomery Band, Zonkaraz to name a few.The album covered various styles from blues to acid-jazz with the aim of securing a majorrecord deal.Many of Forest’s alumni have gone on to highly successful careers in music: Jim Kimball relocated to Nashville to work alongside Faith Hill and Reba McIntyre, Bill Holloman with Danny Gatton, The Gatlin Brothers, Nile Rodgers and Chic, The Fab Faux and Bruce Springsteen, and Wes Talbot founded a music production library called The FRESH Music Library.
Buy it here on LP/CD/Digital: https://orcd.co/forestbbeLong lost and much sought after Private Press from Western Massachusetts band Forest.A distinctive Acid-Jazz / crossover AOR / Soul sound, think Mother Earth jamming with Tim Buckley. This re-issue comes with 6 previously unreleased tracks.Forest was a rarity at the time in a band that consisted of two drummers, Gary Stevens and Bob "Rox" Girouard .The band was a well seasoned touring band who shared the bill with the likes of The Fabulous Rhinestones, The James Montgomery Band, Zonkaraz to name a few.The album covered various styles from blues to acid-jazz with the aim of securing a majorrecord deal.Many of Forest’s alumni have gone on to highly successful careers in music: Jim Kimball relocated to Nashville to work alongside Faith Hill and Reba McIntyre, Bill Holloman with Danny Gatton, The Gatlin Brothers, Nile Rodgers and Chic, The Fab Faux and Bruce Springsteen, and Wes Talbot founded a music production library called The FRESH Music Library.
Altera Vita (Alter Life) is a heartfelt tribute to spiritual jazz master Pharoah Sanders, performed by two of his master students; saxophonist Tony Kofi and harpist Alina Bzhezhinska.Pharoah Sanders’ music has been a part of Tony & Alina’s musical upbringing for as long as they can remember, but their physical paths crossed on a memorable night in 2017 at London’s Barbican Centre, for a night titled ‘ A concert for John & Alice Coltrane’. The night was commemorating the 50th and tenth anniversary of John’s and Alice’s passing.Pharoah Sanders had worked with both Alice and John Coltrane, and this night served as a spiritual passing of the baton to Tony & Alina, the former heavily influenced by John and the latter by Alice.The evening was as timeless as the figures honoured, and served as a pivotal moment in both Alina and Tony’s careers.On September 24th 2022 on the eve of Alina’s HipHarpCollective’s Reflection album launch, the Jazz world mourned the passing of the great Pharoah Sanders. Pharoah's spirit was definitely present in King’s Place that night, when Kofi and Alina led a moving tribute to the Jazz legend with their rendition of Astral Travelling, which gave goosebumps to many in attendance.Tony found himself back in the studio soon after this night and composed a very fitting tribute to the master of spiritual jazz- Alter Vita (For Pharoah Sanders), He then enlisted Alina Bzhezhinska whose improvisations helped to provide an elegant call and response between harp and saxophone, delivering a warm and metaphysical send off for one of Jazz music’s greatest composers and saxophonists Pharoah Sanders.
I Don’t Want Your Love is the 4th Single taken from the monumental double album Manifestation.The track features vocals by Angolan polymath Coréon Dú. Coréon is revered in the worlds of film, fashion, technology and music. His vocals and a rhythmic refrain evokes a chant-like call and response with Boddhi Satva’s production.Boddhi has also supplied an ancestral mix for the single which showcases his technical abilities to craft an enchanting soundscape. Boddhi’s knack for eye-catching collaboration is also demonstrated with this release, which comes with an animated video and NFT collection produced by Humpata Studios.The video takes us into a dystopian nightclub future where attendees battle with interacting in real life or through their technological devices.The NFT release connected to this single is intended to give a platform to young creatives in the Web3 space emanating from Africa.This release also marks BBE / Batakari music and Boddhi Satva’s first venture into NFTs. NFT holders amongst other benefits can expect free guest list entry into any of Boddhi Satva’s club events in London, Paris, Amsterdam and Lisbon until Feb 2024. More details to follow.
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream it here: https://orcd.co/ragar7BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions.Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original.Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980.Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company."Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored."Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow.The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve.The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down.The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.
Buy / Stream it here: https://orcd.co/ragar7BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions.Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original.Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980.Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company."Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored."Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow.The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve.The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down.The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.
Buy it here on LP/CD/Digital: https://orcd.co/forestbbeLong lost and much sought after Private Press from Western Massachusetts band Forest.A distinctive Acid-Jazz / crossover AOR / Soul sound, think Mother Earth jamming with Tim Buckley. This re-issue comes with 6 previously unreleased tracks.Forest was a rarity at the time in a band that consisted of two drummers, Gary Stevens and Bob "Rox" Girouard .The band was a well seasoned touring band who shared the bill with the likes of The Fabulous Rhinestones, The James Montgomery Band, Zonkaraz to name a few.The album covered various styles from blues to acid-jazz with the aim of securing a majorrecord deal.Many of Forest’s alumni have gone on to highly successful careers in music: Jim Kimball relocated to Nashville to work alongside Faith Hill and Reba McIntyre, Bill Holloman with Danny Gatton, The Gatlin Brothers, Nile Rodgers and Chic, The Fab Faux and Bruce Springsteen, and Wes Talbot founded a music production library called The FRESH Music Library.
Buy / Stream it here: https://orcd.co/kjmmusclecarsTaken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project.This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars.Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience.musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023.Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.credits
Buy / Stream the album here: https://orcd.co/songofisland
A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno.
The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard.
Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa’s band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan.
‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and an interview with Yasuhiro Kohno by Tony Higgins.
Buy / Stream the album here: https://orcd.co/songofisland
A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno.
The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard.
Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa’s band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan.
‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and an interview with Yasuhiro Kohno by Tony Higgins.
Buy / Stream the album here: https://orcd.co/songofisland
A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno.
The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard.
Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa’s band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan.
‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and an interview with Yasuhiro Kohno by Tony Higgins.
Buy / Stream the album here: https://orcd.co/songofisland
A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno.
The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard.
Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa’s band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan.
‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and an interview with Yasuhiro Kohno by Tony Higgins.
Buy / Stream it here: https://orcd.co/planets
Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with 'Planets' by Masaru Imada Trio + 1.
Originally released in 1977 as a private press album, 'Planets' showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty- plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr.
Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer.
Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here: https://orcd.co/planets
Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with 'Planets' by Masaru Imada Trio + 1.
Originally released in 1977 as a private press album, 'Planets' showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty- plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr.
Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer.
Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here: https://orcd.co/planets
Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with 'Planets' by Masaru Imada Trio + 1.
Originally released in 1977 as a private press album, 'Planets' showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty- plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr.
Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer.
Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here: https://orcd.co/planets
Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with 'Planets' by Masaru Imada Trio + 1.
Originally released in 1977 as a private press album, 'Planets' showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty- plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr.
Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer.
Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream it here : https://orcd.co/wutrio
Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. ‘Wütrio’ is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers.
‘Wütrio’, the band, originally formed in the Bavarian city of Würzburg and went through lineup changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast.
The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey.
From his time as one half of production duo ‘A Forest Mighty Black’, Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation ‘Soulgliding’ and coproductions with DJ Kon on the ‘Kon and the Gang‘ album from 2016. It is worth noting that it is Rainer himself who gave the name ‘Soulgliding’ to a genre of certain paced and soulful groove of music that now bears that name. His selection of the ‘Wütrio’ album to kick off a highly collectable series of re-issues is an inspired choice.
Buy / Stream the album here: https://orcd.co/songofisland
A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno.
The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard.
Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan.
‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and an interview with Yasuhiro Kohno by Tony Higgins.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy the vinyl and cd here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett’s ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway’s jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land’s modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy / Stream it here: https://orcd.co/ejioyewole
We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.
Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinitythe prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.
While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the worldstage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.
This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.
Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.
Buy / Stream it here: https://orcd.co/ejioyewole
We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.
Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinitythe prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.
While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the worldstage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.
This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.
Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.
Buy / Stream it here: https://orcd.co/ejioyewole
We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.
Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinitythe prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.
While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the worldstage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.
This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.
Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.
Buy / Stream it here: https://orcd.co/ejioyewole
We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.
Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinitythe prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.
While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the worldstage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.
This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.
Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.
Buy / Stream it here: https://orcd.co/shamekfarrah
Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.
Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.
The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”
On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.
‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.
Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.
Buy / Stream it here: https://orcd.co/shamekfarrah
Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.
Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.
The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”
On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.
‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.
Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.
Buy / Stream it here: https://orcd.co/shamekfarrah
Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.
Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.
The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”
On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.
‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.
Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.
Buy / Stream it here: https://orcd.co/shamekfarrah
Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.
Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.
The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”
On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.
‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.
Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.
Buy / Stream it here: https://orcd.co/peacemaker
Unearthed by Mike Peden for BBE Music, Per Husby Septett's ‘The Peacemaker’ is a beautiful, deep and under-the-radar small big band set recorded in 1976 by the elite of Norway's jazz cognoscenti, led by pianist and band leader Per Husby.
Originally issued for Husby on the Studentersamfundets Plateselskap label by the Student Society in Trondheim, Norway, this obscure jazz rarity had no budget for PR or distribution, and with just a mere 500 copies pressed sales were scarce; it soon became a collectors item in Norway and across the globe. The album creates a big-sounding dynamic mix of original compositions by Per Husby and covers, including Harold Land's modal masterpiece title cut ‘The Peacemaker’, plus a top-draw selection of tunes encompassing post bop, modal, bossa and ballads by the likes of Kenny Wheeler, Cedar Walton and Charlie Parker.
Reissued with original artwork and the approval of Per Husby himself, who has also provided the sleeve notes, ‘The Peacemaker’ is now available once again for download, streaming, CD and as a double 180g LP cut at 45rpm by the Grammy-nominated Carvery studio.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/shamekfarrah
Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.
Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.
The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”
On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.
‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.
Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.
Buy / Stream it here: https://orcd.co/slyjohnsonthankyou
Sly Johnson reimagines this iconic funk classic by his namesake Sly and the Family Stone. Following his critically acclaimed album 55.4 , Sly shows that he still has more funk to share with the world.
The original Sly and the Family stone track bookended the funk era, where jazz was replaced with funky riffs. Johnson takes the 1969 slap bass funk and modernises it in his own funky neo-soul style.
The ‘Dilla-Timed’ production is married seamlessly with Johnson’s soulful vocals, with Laurent Salzard on bass and Anthony Jambon on guitar , this cover fits right in with the vibe of the much loved 55.4 album.
Buy / Stream it here: https://orcd.co/slyjohnsonthankyou
Sly Johnson reimagines this iconic funk classic by his namesake Sly and the Family Stone. Following his critically acclaimed album 55.4 , Sly shows that he still has more funk to share with the world.
The original Sly and the Family stone track bookended the funk era, where jazz was replaced with funky riffs. Johnson takes the 1969 slap bass funk and modernises it in his own funky neo-soul style.
The ‘Dilla-Timed’ production is married seamlessly with Johnson’s soulful vocals, with Laurent Salzard on bass and Anthony Jambon on guitar , this cover fits right in with the vibe of the much loved 55.4 album.
Buy / Stream it here: https://orcd.co/slyjohnsonthankyou
Sly Johnson reimagines this iconic funk classic by his namesake Sly and the Family Stone. Following his critically acclaimed album 55.4 , Sly shows that he still has more funk to share with the world.
The original Sly and the Family stone track bookended the funk era, where jazz was replaced with funky riffs. Johnson takes the 1969 slap bass funk and modernises it in his own funky neo-soul style.
The ‘Dilla-Timed’ production is married seamlessly with Johnson’s soulful vocals, with Laurent Salzard on bass and Anthony Jambon on guitar , this cover fits right in with the vibe of the much loved 55.4 album.
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
Buy / Stream it here: https://orcd.co/planets
Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with 'Planets' by Masaru Imada Trio + 1.
Originally released in 1977 as a private press album, 'Planets' showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty- plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr.
Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer.
Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/thelibraryarchive2
Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music.
Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films.
The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 – More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’.
“This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads – it’s a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”
Buy / Stream it here: https://orcd.co/makethecall
Taken from the duo's 2021 album 'Break The Wall' MF Robots' Dawn Joseph and Jan Kincaid have released another slab of dance floor soul in 'Make The Call'. A sure-fire groove that underpins a sublime vocal, 'Make The Call' is sure to be one of the festival, event and club hits of the Summer.
Now available as a digital download, 'Make The Call' also comes with an extended version and remixes from the legendary Two Soul Fusion duo of Louie Vega and Josh Milan. These remixes bring something new and special to the track with each creating a subtly different mood for the dance floor, for the radio and for the house party.
MF Robots is a songwriting, production and performing duo created by former Brand New Heavies founder Jan Kincaid and BNH vocalist and multi-instrumentalist Dawn Joseph. The pair left the Heavies in 2014 to record their own compositions and have been wowing audiences and record buyers with their effortless blending of Soul, RnB, Funk, Disco and Jazz ever since.
Louie Vega is one half of the House music dons Masters at Work and Josh Milan is a Grammy nominated vocalist, musician and composer who also collaborate in Vega's collective 'Elements of Life'. With both at the forefront of production, composition and remixing for more than three decades, the House, Boogie and Instrumental versions they have produced for 'Make The Call' are off the scale here.
Atjazz AKA Martin Iveson is a prolific remixer who has reworked tracks for Nitin Sawhney, Bob Sinclair, Jazzanova and even Henry Mancini (the Pink Panther theme) as well as working with vocalists of the stature of Robert Owens and Clara Hill. As Martin states, 'Remixing helps hone your sound and allows the producer to print their trademark into another space.' Well he certainly has done this here with his distinctive remix of 'The Love It Takes.'.
Buy / Stream it here: https://orcd.co/alinahipharp
Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.
Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).
Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.
“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.
For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.
I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska
Reflections is released on double LP vinyl, limited edition CD & digital formats.
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
Buy it here: https://orcd.co/bigbootyexpressremixes
Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep.
Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro.
Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz- Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks.
As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others.
Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003.
The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'.
This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with. credits
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy the Vinyl here: https://orcd.co/littleorphanboy
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari. With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition", this new opus completes its first cycle of Ancestral Soul. This most conceptual of Afro House's producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi. In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album. On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers. Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here. In Boddhi Satva’s own words: "Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You'd think that as the years go by I'd run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn't formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday." Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi's creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen ... and I am proud to bear witness to it with this work.”
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy / Stream it here: https://orcd.co/leftoearlybird
Belgian DJ and tastemaker Lefto announces his latest compilation album, entitled ‘The Beauty is Inside’, on BBE Music.
Eclectic sounds ranging across genres and continents make up the 19 gems contained on ‘The Beauty Is Inside’, all deftly linked together by Lefto’s unrivalled taste and deep musical knowledge.
“You can’t sleep on Lefto! He’s always on it...” - Gilles Peterson
As well as showing respect for some somewhat unsung heroes from the past like Ethiopian singer Alemayehu Eshete, South African singer and actress Patience Africa and Spanish composer Pedro Ruy-Blas of seventies fusion band Dolores, Lefto looks to the future, showcasing young soul and electronic artists, including D.C.’s Dreamcastmoe, Pasadena’s Qur'an Shaheed, Regal86 from Monterrey, Antwerp’s abrahamblue and Elisa Bee from Milan, to name just a few. The album also features an appearance from paladin of the current jazz renaissance Makaya McCraven, and even a track from Lefto himself.
“‘The Beauty is Inside’ is a compilation of original tracks (I personally really like) and tracks from friends who happen to be great artists as well” says Lefto. “They are all pretty much up-and-coming, and deserve more exposure. It has always been my job as a radio man to shine a light on the talented artists who need it the most. We all know how the music industry works, and how hard it is to find your way in that world, so I hope this collection of tracks will give these artists the shine they deserve.” credits
BBE Music continues its highly acclaimed J Jazz Masterclass Series with Kemo Sabe, the debut album from pianist Masao Nakajima. Recorded in 1979 on Yupiteru Records, it’s an elusive beast in the field of J Jazz and balances delicate and refined playing with power and vigour.
The Kemo Sabe album features bassist Osamu Kawakami, who has performed and recorded with such J Jazz figureheads as Sadao Watanabe, Isao Suzuki, and Kunihiko Sugano. Sax duty is by Toshiyuki Honda, leader of the popular fusion group Burning Waves. On drums is Donald Bailey, the noted American drummer most known for playing on classic Jimmy Smith Blue Note sessions. Bailey lived and worked in Japan for a number of years from the late 70s and recorded several album dates with local artists such including Keiko Nemoto, Isao Suzuki and George Kawaguchi.
Recorded at the height of the electric fusion era, Kemo Sabe is an avowedly acoustic album, which may account for the small sales and low profile of the album at the time. The propulsive title track, written by New Zealand jazzman Mike Nock, was gifted to Nakajim- san when they briefly met and was featured on J Jazz: Deep Modern Jazz From Japan vol 3. The reissue’s liner notes features an exclusive interview with Masao Nakajima himself, discussing his career and background to the album.
The BBE J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare, long-lost and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Following on from the success of the release of ‘Soul Vibrations’ in March, London based Harpist Alina Bzhezhinska and her HipHarpCollective, release two more tracks from the forthcoming BBE LP ‘Reflections‘. The tracks, ‘Paris Sur Le Toit’ and an amazing cover of the classic ‘Afro Blue’ also come with remixes and instrumentals of ‘Paris Sur Le Toit’ from Sly Johnson and DJ Spinna.
In the tradition of Dorothy Ashby and Alice Coltrane, Alina is innovating the use of the Harp in Jazz with contemporary melodies overlaying fresh Hip-Hop beats. Utilising live instrumentation and the contributions of the cream of UK Jazz talent (Tony Kofi, Jay Phelps, Julie Walkington among them) Alina has created two tracks that will be massive additions to the Jazz and Black music canons.
This re-imagining of ‘Afro Blue’ features a wonderful vocal performance from Vimala Rowe which interplays with the Harp solos over a strongly percussive bass driven track that lends itself to the dance floor as the Latin feel of the track builds and builds into a series of solos from the horns, percussion and drums.
‘Paris Sur La Toit’ is a masterclass in Jazz Hip-Hop with rhymes laid down in French and English by SANITY and Tom TheyThem. Here Alina’s Harp provides the changing dynamics of the track, providing the atmosphere which bridges from the break beats to the stunning vocals. Having these original materials to work with, the creative inputs of both DJ Spinna and Sly Johnson are at the top of their respective games bringing new resonances and nuance to ‘Paris Sur le Toit’.
Paris based composer and vocalist Sly Johnson presents us with his TAGi remix that strips back to the beats in order to bring forth the inter-play between the spoken word, the sung vocals of the chorus and that wonderful harp playing. Brooklynite DJ Spinna’s remix brings us a fuller sound where the slow funk of the synth bass drives the vocals along and provides a space for those harp melodies to dance in.
This EP is a digital release with seven tracks including the original groove of ‘Afro Blue’ along with the remixes and instrumentals of ‘Paris Sur Le Toit’.
Buy it here: https://orcd.co/norikomiyamotopush
BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto.
For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki.
The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide.
Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time.
Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent. Noriko was one of his prodigies, and so ‘Push’ became a vehicle to showcase her and his band as well, which featured notably future renowned players such as keyboardist, Masanori Sasaji, who went on to back Yasuaki Shimizu and guitarist, Kazumasa Akiyama, who played with many major Japanese Jazz musicians. According to Noriko, these young musicians in the group helped Suzuki create a brand new sound, mixing orthodox jazz with the crossover / fusion sound that was popular at the time, coming together supremely on ‘Push’.
For ‘Push’, Suzuki focused on Noriko’s unique prowess of singing songs in English, somewhat a rarity in the Japanese music scene at the time. She sang two jazz standards, ‘Everything I Have Is Yours’ and ‘Stella By Starlight’ on the album. Noriko also wrote English lyrics for two original compositions of Suzuki’s, an instrumental piece, ‘Cadillac Woman’, and ‘My Life’, a song that he composed for Kimiko Kasai, who’d originally sung it in Japanese on her 1977 album, ’Tokyo Special’.
Noriko fulfilled her long-held dream of becoming a soul singer after she moved to the US in 1990 and subsequently joined a number of prestigious outfits, such as Eddie Murphy’s band, Graham Central Station, the Brothers Johnson and Side Effect, but ‘Push’ is the album that paved the way for her career and hopefully, with this first time ever, worldwide reissue, it will attract more listeners. Sadly the producer of this album, Isao Suzuki sadly passed away recently at the age of 89. It is unfortunate that he was not able to see the reissue of this special album that he produced for Noriko Miyamoto.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
BBE Music presents the first ever reissue of ‘Classifieds’, an ultra-rare, privately pressed 1985 album by Moonshine aka Monica Rypma & Friends.
A naive and charming dose of dreamy DIY synth-pop interspersed with off-kilter, ambient interludes, original copies of ‘Classifieds’ are now almost impossible to dig up, but lately, thanks to the internet, the album has earned a cult following from music obsessives all over the globe.
Created by aspiring songwriter and recent music-school dropout Monica Rypma, incredibly the album’s recording and production was entirely financed from sponsorship and advertising, way back in 1985.
Inspired by René Van Helsdingen, the Amsterdam based composer, pianist and crowdfunding pioneer, Monica decided to sell advertising space on the album sleeve and name the album 'Classifieds', designing the cover to mimic a newspaper’s small ads layout.
Written and recorded in only 5 days with René Van Helsdingen collaborator, synth wizard and multi-instrumentalist Brian Batie producing, the album was engineered by Wil Hesen at Studio Farmsound in Heelsum. With Rypma assisting, Batie composed and arranged almost all of the music on the spot, and lyrics were dreamed up by Batie, Rypma and Brian’s friend Jenny Garner.
With an album full of music she could be proud of, Monica called in help from friends and family to print, fold and assemble the albums. “The original cover sleeve had three coloured bands; yellow, green or pink” says Rypma. “These were not different pressings, as most people presumed, but came from the limited budget that was left for printing. As one ink ran out, another colour was used, and this method produced the three versions.”
Once copies had been distributed to the record’s advertisers and sponsors, hardly any were left. Until now, that is! credits
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
Afro House pioneer and father of Ancestral Soul, Boddhi Satva presents his new album, ‘Manifestation’, on BBE Music offshoot Batakari.
With ‘Manifestation’ Boddhi Satva brings to a close a trilogy of long players. Following 2012’s ‘Invocation’ and 2016’s’ Transition”, this new opus completes its first cycle of Ancestral Soul.
This most conceptual of Afro House’s producers offers an ode to lovers of the genre with a project that is both easy-listening and club-ready, with more urban sounds (R’n’B, Soul, Trap, Amapiano) intertwined with the frantic rhythms of large African cities such as Bamako, Dakar or Nairobi.
In the making of ‘Manifestation’, Boddhi Satva has once again surrounded himself with artistic friends, each as talented as the next, joined by a shared need for music and magic in these dark times of global pandemic. Boddhi Satva has thus multiplied his already-prolific number of collaborators to almost thirty on this album.
On this concept project Boddhi Satva set out to break the rules by showcasing atypical voices that will send listeners on a journey from the United States through South Africa, East and Central Africa as well as many European countries. Once an Afro House ‘enfant terrible’, it turns out Satva grew up to be a respectable boss, patiently mentoring new generations of producers.
Boddhi Satva maps, through the course of ‘Manifestation’, a path he has been tracing for two decades: bringing together people from different musical genres and backgrounds, all contributing to his singularly focussed musical and spiritual vision. In fact, more than simply a ‘Manifestation’, Boddhi Satva has signed his manifesto here.
In Boddhi Satva’s own words: “Manifestation truly represents my musical evolution through my 21 years of career in the music industry. You’d think that as the years go by I’d run out of juice and more than ever this appears as an absolute impossibility for me. Music has helped and blessed me in so many ways, strengthened me when going through emotionally challenging times, and allowed me to transcend myself in ways I couldn’t formulate in words. I dedicate this album to my mother who was alive through the making of this project but recently passed away on the 15th of February 2022, just a week before her 73rd birthday.”
Artwork was created by Omar Victor Diop, who says: “With this visual creation, I wanted to share my testimony as Boddhi’s creative friend, knowing the intensity of the personal journey that the Ancestral Soul trilogy represents for him. ‘Manifestation’, the final chapter of this odyssey, is the reaching of the garden of consciousness, an epiphany moment in the life of any artist, where peace is savoured through the exercise of an uninhibited, pure and cathartic creation. . My brother Boddhi made it happen … and I am proud to bear witness to it with this work.”
‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.
The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... until now.
Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.
“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create anepic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.
Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Stream it here: https://orcd.co/slyjohnson554
French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much-anticipated fourth studio album, released on BBE Music.
Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah.
When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino to IAM among many others.
Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak.
Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.
Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records.
Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgable and passionate vinyl specialists in the business.
Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few.
Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day.
“There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
BBE Music presents the first ever digital release for ‘Baby Doll’, a hidden Roy Ayers gem from the 70s, originally issued as a limited 12″ single back in 2003.
Initially intended to be the opening single for the first volume of Roy Ayers ‘Virgin Ubiquity: Unreleased Recordings 1976 – 1981’, somehow the track never made it onto the album itself, so this vintage disco cut has never appeared on digital formats, until now.
Featuring the great Bernard ‘Pretty’ Purdy on drums, ‘Baby Doll’ boasts William Allen on bass and Chano O’Ferral on congas, with vocals, keys and clarinet taken care of by Mr. Ayers himself.
BBE Music presents the first ever digital release for ‘Baby Doll’, a hidden Roy Ayers gem from the 70s, originally issued as a limited 12″ single back in 2003.
Initially intended to be the opening single for the first volume of Roy Ayers ‘Virgin Ubiquity: Unreleased Recordings 1976 – 1981’, somehow the track never made it onto the album itself, so this vintage disco cut has never appeared on digital formats, until now.
Featuring the great Bernard ‘Pretty’ Purdy on drums, ‘Baby Doll’ boasts William Allen on bass and Chano O’Ferral on congas, with vocals, keys and clarinet taken care of by Mr. Ayers himself.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy / Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Sean Khan returns to BBE Music with single ‘Naima’, another offering taken from his new album ‘Supreme Love’, featuring a show-stopping remix from Atjazz.
With sold out shows at iconic London venue Ronnie Scott’s under his belt to celebrate the release of his LP ‘Supreme Love: A Journey through Coltrane’, Sean Khan will be playing alongside Jazzanova at The Jazz Cafe (Camden) on the 23rd of April 2022, so BBE Music decided to release this stunning single to mark the occasion.
Featuring vocals from Cinematic Orchestra front-woman Heidi Vogel, Sean Khan’s interpretation of the Coltrane classic ‘Naima’ is string-drenched and spiritual. Although a clear departure from the original, the emotional imprint of the original remains in between the notes and spaces.
Featuring brand new flute lines recorded by Sean Khan especially for his remix, UK production don Atjazz turns in a dreamy, languid version of ‘Naima’, with relaxed, lazy rhythms and glistening keys.
The Players: Sean Khan – Alto saxophone Heidi Vogel – Lead vocals Kaidi Tatham – Fender Rhodes Andy Noble – Piano Dario de Lecce – Double Bass Laurie Lowe- Drums Meg Gates – Violin Angela Hunt – Violin Michael Whittaker – Viola Jackie Phillips – Cello Angelica V. Salvi – Harp
Sean Khan returns to BBE Music with single ‘Naima’, another offering taken from his new album ‘Supreme Love’, featuring a show-stopping remix from Atjazz.
With sold out shows at iconic London venue Ronnie Scott’s under his belt to celebrate the release of his LP ‘Supreme Love: A Journey through Coltrane’, Sean Khan will be playing alongside Jazzanova at The Jazz Cafe (Camden) on the 23rd of April 2022, so BBE Music decided to release this stunning single to mark the occasion.
Featuring vocals from Cinematic Orchestra front-woman Heidi Vogel, Sean Khan’s interpretation of the Coltrane classic ‘Naima’ is string-drenched and spiritual. Although a clear departure from the original, the emotional imprint of the original remains in between the notes and spaces.
Featuring brand new flute lines recorded by Sean Khan especially for his remix, UK production don Atjazz turns in a dreamy, languid version of ‘Naima’, with relaxed, lazy rhythms and glistening keys.
The Players: Sean Khan – Alto saxophone Heidi Vogel – Lead vocals Kaidi Tatham – Fender Rhodes Andy Noble – Piano Dario de Lecce – Double Bass Laurie Lowe- Drums Meg Gates – Violin Angela Hunt – Violin Michael Whittaker – Viola Jackie Phillips – Cello Angelica V. Salvi – Harp
Buy / Stream the EP here: https://orcd.co/bberontrentmatthiasheilbronn
Following up BBE Music’s special version of Universal Robot Band’s ‘Barely Breaking Even‘ by Louie Vega, Leroy Burgess and Patrick Adams, the label announces new remixes by Ron Trent and Matthias Heilbronn.
Created to commemorate BBE’s 500th label release, ‘Barely Breaking Even’ is the song that inspired the company’s name, and their 2019 remake went all out, featuring live strings by The Apple Hill String Quartet, arranged by Patrick Adams and Leroy Burgess, with Grammy winning producer Louie Vega overseeing proceedings.
House Music legend Ron Trent turns in a typically deep, rich and rhythmic twist on ‘Barely Breaking Even’, introducing a slick new chord progression while showcasing the original’s stunning strings and Leroy’s powerhouse vocal. Steadfast and prolific German-born, NYC-residing producer Matthias Heilbronn turns in a bumper stash of remixes for all occasions. The main mix stays true to Leroy’s vision, the ‘BKNY’ version toughens up the drums for peak-time, while the ‘Soulflower’ revision brings forth a smoother, more vintage House groove.
Instrumental versions of all mixes are included, and a ‘Beats’ version of Heilbronn’s Soulflower mix will surely prove a useful tool for creative DJs.
Buy / Strea the EP here - https://orcd.co/slyjohnsonalive
The second single taken from forthcoming album ’55.4’, Sly Johnson presents ‘Alive’, a timely hip hop / soul gem on BBE Music.
Over a backdrop of languid, atmospheric beats and sultry fragments of piano melody, Sly Johnson wrestles with the tension between optimistic dreams and stark realities in this powerful piece of social commentary.
“I see a land where my heart’s relieved My bones freed from the hand of the beast Nights when my father can dream in peace I see a land where woman’s not afraid to be Police siren stop to scream Brutality no longer runs the streets”
Following a decade of fine work with SAIAN SUPA CREW under the alias Sly The Mic Buddah, Sly Johnson has gone on to build an enviable solo career, with releases on Blue Note and Universal Jazz, and collaborations with Larry Gold, Georgia Ann Muldrow, and T3 & Elzhi from Slum Village among others. ‘55.4’, Sly Johnson’s 4th studio album, will be released on May 6th 2022 via BBE Music.
Buy / Stream it here :https://orcd.co/kilulu
Boddhi Satva drops another gem from forthcoming album ‘Manifestation’, a smoking collaboration with Spilulu, Kaysha and H.Baraka entitled ‘Kilulu’.
“A song that is all about positive vibes, fun and togetherness,” says Boddhi “’Kilulu’ translates in English as ‘bites’, and it is used here metaphorically to depict the fact that the listener/dancer is being sweetly bitten by the rhythms and sounds of the song.”
This powerful slice of Ancestral Soul will surely turn up the clubs, festivals and carnivals with its infectious vibe and catchy vocals. The song comes complete with a stunning official video, directed by Redot, Boddhi Satva & Kaysha, and shot at various locations in Dakar, Senegal.
About the featured artists:
Trailblazing singer and rapper Kaysha was born in the Democratic Republic of Congo, raised in France and currently resides in Portugal. Digital Sensei, Sorbonne University Business and Economics Graduate, Kaysha is a very versatile man. He was nominated for Best African Artist in the 2005 MTV Europe Awards, and won a Kora award for Best African Artist in the year 2000.
Also from the Democratic Republic of Congo, Spilulu is famous for his skills as a DJ and producer. He’s released four solo albums and countless singles and remixes, as well as acting in two motion pictures, Mangeurs de Cuivre (2016) and Machini (2019).
H.Baraka is a DJ and vocalist from Lubumbashi, the DRC’s third largest city. He’s enjoyed multiple club hits worldwide, thanks to his unmistakable sound.
Buy / Stream it here :https://orcd.co/kilulu
Boddhi Satva drops another gem from forthcoming album ‘Manifestation’, a smoking collaboration with Spilulu, Kaysha and H.Baraka entitled ‘Kilulu’.
“A song that is all about positive vibes, fun and togetherness,” says Boddhi “’Kilulu’ translates in English as ‘bites’, and it is used here metaphorically to depict the fact that the listener/dancer is being sweetly bitten by the rhythms and sounds of the song.”
This powerful slice of Ancestral Soul will surely turn up the clubs, festivals and carnivals with its infectious vibe and catchy vocals. The song comes complete with a stunning official video, directed by Redot, Boddhi Satva & Kaysha, and shot at various locations in Dakar, Senegal.
About the featured artists:
Trailblazing singer and rapper Kaysha was born in the Democratic Republic of Congo, raised in France and currently resides in Portugal. Digital Sensei, Sorbonne University Business and Economics Graduate, Kaysha is a very versatile man. He was nominated for Best African Artist in the 2005 MTV Europe Awards, and won a Kora award for Best African Artist in the year 2000.
Also from the Democratic Republic of Congo, Spilulu is famous for his skills as a DJ and producer. He’s released four solo albums and countless singles and remixes, as well as acting in two motion pictures, Mangeurs de Cuivre (2016) and Machini (2019).
H.Baraka is a DJ and vocalist from Lubumbashi, the DRC’s third largest city. He’s enjoyed multiple club hits worldwide, thanks to his unmistakable sound.
Pre-order album 'This is Brian Jackson': https://orcd.co/thisisbrianjackson
Legendary American musician Brian Jackson announces his first solo album in over 20 years, ‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and released on BBE Music. Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’ and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to stick with the sounds they know best at some point in their careers, Jackson remains an unusually adventurous, vital and broad-minded artist to this day. When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns out that he was right.” Early on in their friendship, Brian mentioned that he’d embarked on a solo project right around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking “what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer. “We sketched out musical ideas, drank way too much coffee, consumed way too many tacos and sampled perhaps a few too many exotic whiskeys while talking about things that were important to both of us personally. The lyrics for the songs are a result of those conversations” says Jackson. Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika Heidemann. And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals, distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the arrangement effortless, the production human and analogue. From golden-era soul-funk opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy /Stream the album here: https://orcd.co/childrenofthesun
Selected by British DJ and vinyl hunter Paul Hillery, new BBE Music compilation ‘We Are The Children Of The Sun’ showcases a shimmering collection of rare folk funk and AOR with a distinctly Balearic feel.
Former tour DJ for Polyphonic Spree and the man behind YouTube channel and mix series ‘Folk Funk & Trippy Troubadours’, Paul Hillery’s lovingly handpicked musical assembly takes in strummed soft rock, blissful beach beats, the soft fizz of electronica, all carried to your ears by a gentle summer breeze.
The music on ‘We Are The Children Of The Sun’ ranges from hazy, long-forgotten early 70s tapes, right through to digital compositions recorded during lockdown in 2020.
“Tune in” says Paul, “and ruminate while consciousness is awoken with transmissions dropping out from the fringes of psyche tranquillity, holding hands with folk-funk that runs deep and hazy, as the bejewelled turquoise waters lap gently at the ocean’s shore.”
Buy or stream: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Steam the EP here: https://orcd.co/saturdaynights
The second single to be pulled upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original.
Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’”
When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!”
Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.”
Alongside his Berlin production partners Re.decay, DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream: https://orcd.co/soulvibrations
Heralding her forthcoming album ‘Reflections’ on BBE Music, harp player and composer Alina Bzhezhinska (aka AlinaHipHarp) presents ‘Soul Vibrations’, the first single taken from the project.
Alongside her HipHarpCollective, Alina Bzhezhinska creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators.
Album ‘Reflections’ features a blend of original compositions and covers of works by some of Bzhezhinska’s greatest influences, including ‘Soul’ Vibrations’, originally record by the pioneering composer and harpist Dorothy Ashby.
“This iconic tune captured my imagination when I first listened to her album, Afro-Harping” says Alina. “I decided to make my own version of this tune by writing an arrangement that represents vibrating strings of the heart. I open the album with Soul Vibrations, as I wanted to show my deepest respect to my role model.”
Album ‘Reflections’ will be released in September 2022, on vinyl, CD and digital formats.
Available on vinyl or digital: https://orcd.co/klinkhamer
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
Buy / Stream it here: https://orcd.co/trustme
Announcing his forthcoming album ’55.4’, revered French vocalist, beatboxer, songwriter and producer Sly Johnson makes his BBE Music debut with single ‘Trust Me’.
Perhaps best known for his decade of work with SAIAN SUPA CREW under the alias Sly The Mic Buddah, Sly Johnson has gone on to build an enviable solo career, with releases on Blue Note and Universal Jazz, and collaborations with Larry Gold, Georgia Ann Muldrow, and T3 & Elzhi from Slum Village among others.
A soul-drenched cover of the 1979 D.J. Rogers song, ’Trust Me’ features guitar by Anthony Jambon, bass by Laurent Salzard and keys from Nicholas Vella, summoning memories of classic D’Angelo with its combination of laid-back beats and tight harmonies.
‘Trust Me’ is the first single to be taken from ‘55.4’, Sly Johnson’s 4th studio album, slated for release in May 2022 on BBE Music.
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
Buy / Stream the album here: https://orcd.co/wideeyeculture
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, open-minded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Buy / Stream it here: https://orcd.co/brianjacksonalltalk
Announcing his forthcoming studio album, ‘This Is Brian Jackson’, which is to be released on BBE Music in May 2022, Brian Jackson offers up the LP’s lead single ‘All Talk’, presented with a brace of remixes by OPOLOPO.
Produced by Phenomenal Handclap Band founder Daniel Collás, ‘This Is Brian Jackson’ is the veteran songwriter and musician’s first true solo studio album in 20 years. Perhaps best known for his albums as co-artist/producer with Gil Scott-Heron in the 1970s, Brian Jackson remains active and innovative, producing artists such as Will Downing and Gwen Guthrie, recording with Kool and the Gang, Roy Ayers, Alabama 3, Sean Ono Lennon and constantly called upon for contributions by many other artists as well.
‘All Talk’ gives us a first sampling of ‘This Is Brian Jackson’, displaying Jackson’s sparkling songwriting, vocal delivery and musicianship, beautifully framed by Daniel Collás’s skillful, timeless production.
“I had mentioned to Daniel that I had begun work on a solo project around the time that Gil and I were recording ‘Bridges’ in 1976” says Jackson. “I even had a few unfinished tracks. The seed of Daniel’s concept centered around the question: ‘what would a Brian Jackson album sound like if the 21st century Brian were to complete that 1976 album today?’”
Now, that question has been well-and-truly answered.
‘All Talk’ comes complete with a pair of complimentary reworks from Swedish production wizard OPOLOPO, who provides a sublime futuristic boogie version and a tougher, percussion-led club mix for the dancers.
Album ‘This Is Brian Jackson’ is scheduled for release on vinyl, CD and digital formats, May 6th 2022.
Available on vinyl or digital formats: https://orcd.co/klinkhamer
IF Music owner Jean-Claude turns his attention to Dutch record shop Klinkhamer Records for the latest in his “An Introduction To…” series on BBE Music, inviting owner Michel Veenstra to compile a special selection of music to represent the store.
Located in the city of Groningen, Klinkhamer Records began in the year 2000 as an offshoot of the already-established ‘Klinkhamer Antiek en Curiosa’ shop. Having made a success of the record trade, Michel Veenstra and his brother Stephan purchased the business from founder Martin Klinkhamer in 2005. “We kept the name” says Michel “since we both loved it, and it was already well-known in our town.”
Starting out as a record dealer in the late 90s, Veenstra soon found himself a regular at the World-famous Utrecht Record Fair, and has been trading records and antiques full-time ever since. Enjoying privileged access to rare and forgotten jazz music from the Netherlands and beyond, creating his own compilation was an idea Michel had been toying with for several years, but it wasn’t until meeting Jean-Claude that plans became concrete. A list of rare, never-before reissued records was submitted to BBE and the painstaking work of licensing the music began.
Featuring mostly cuts from the late 70s and early to mid 80s, ‘An Introduction To… Klinkhamer Records’ explores some true ‘holy grail’ records, mainly from across Holland, but also roaming as far as Chicago and Italy in search of sublime jazz, blues and even gospel sounds.
“When it comes to records” says Jean-Claude, “this guy knows his onions on a whole other level; his commitment to the cause is unwavering at a time when it is getting increasingly harder to run an indie shop. So, if you find yourself in Holland for whatever reason and are a vinyl freak, do yourself the biggest favour and pay a visit to Klinkhamer Records.”
Buy / Stream it here: https://orcd.co/clapclap
In association with DJ Amir‘s 180 Proof Records, BBE Music reissues ‘Clap Clap! The Joyful Noise’, an unreleased gem from Strata Records founder Kenny Cox.
In 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly 4 decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city’s culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records.
The Lyman Woodard Organization’s Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow – Cox’s unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It’s a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album’s original liner notes that, “oddly enough…I’ve never seen.”
The title track, “Clap Clap! The Joyful Noise” is a frolicking bossa groove awash in the gentle sound of waves one can imagine lapping against the shores of Brazil’s Praia da Fazenda, or perhaps the Taipus de Fora. “Samba de Romance” teems with the mischievous tones of two lovers playing not cat and mouse, but cat and cat (!), until the chase ends in a passionate nighttime rendezvous in sultry island air.
The pulsating bounce of “Island Song,” with its mood set by Moore’s vibrant flugelhorn and the percussion of Ronald Johnson and Nengue Hernandez, is just about everything one would imagine an island song to be, while “Lost My Love” is really “Feel Like Making Love” in delicious disguise and the album’s close, “Beyond The Dream,” is a 13-minute enlivening, reflective odyssey on everything one has lived, and all that remains to be achieved.
This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, extensive liner notes and never seen before photos.
Buy / Stream it here: https://orcd.co/clapclap
In association with DJ Amir‘s 180 Proof Records, BBE Music reissues ‘Clap Clap! The Joyful Noise’, an unreleased gem from Strata Records founder Kenny Cox.
In 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly 4 decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city’s culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records.
The Lyman Woodard Organization’s Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow – Cox’s unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It’s a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album’s original liner notes that, “oddly enough…I’ve never seen.”
The title track, “Clap Clap! The Joyful Noise” is a frolicking bossa groove awash in the gentle sound of waves one can imagine lapping against the shores of Brazil’s Praia da Fazenda, or perhaps the Taipus de Fora. “Samba de Romance” teems with the mischievous tones of two lovers playing not cat and mouse, but cat and cat (!), until the chase ends in a passionate nighttime rendezvous in sultry island air.
The pulsating bounce of “Island Song,” with its mood set by Moore’s vibrant flugelhorn and the percussion of Ronald Johnson and Nengue Hernandez, is just about everything one would imagine an island song to be, while “Lost My Love” is really “Feel Like Making Love” in delicious disguise and the album’s close, “Beyond The Dream,” is a 13-minute enlivening, reflective odyssey on everything one has lived, and all that remains to be achieved.
This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, extensive liner notes and never seen before photos.
Buy / Stream it here: https://orcd.co/clapclap
In association with DJ Amir‘s 180 Proof Records, BBE Music reissues ‘Clap Clap! The Joyful Noise’, an unreleased gem from Strata Records founder Kenny Cox.
In 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly 4 decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city’s culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records.
The Lyman Woodard Organization’s Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow – Cox’s unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It’s a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album’s original liner notes that, “oddly enough…I’ve never seen.”
The title track, “Clap Clap! The Joyful Noise” is a frolicking bossa groove awash in the gentle sound of waves one can imagine lapping against the shores of Brazil’s Praia da Fazenda, or perhaps the Taipus de Fora. “Samba de Romance” teems with the mischievous tones of two lovers playing not cat and mouse, but cat and cat (!), until the chase ends in a passionate nighttime rendezvous in sultry island air.
The pulsating bounce of “Island Song,” with its mood set by Moore’s vibrant flugelhorn and the percussion of Ronald Johnson and Nengue Hernandez, is just about everything one would imagine an island song to be, while “Lost My Love” is really “Feel Like Making Love” in delicious disguise and the album’s close, “Beyond The Dream,” is a 13-minute enlivening, reflective odyssey on everything one has lived, and all that remains to be achieved.
This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, extensive liner notes and never seen before photos.
Buy / Stream it here: https://orcd.co/clapclap
In association with DJ Amir‘s 180 Proof Records, BBE Music reissues ‘Clap Clap! The Joyful Noise’, an unreleased gem from Strata Records founder Kenny Cox.
In 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly 4 decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city’s culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records.
The Lyman Woodard Organization’s Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow – Cox’s unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It’s a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album’s original liner notes that, “oddly enough…I’ve never seen.”
The title track, “Clap Clap! The Joyful Noise” is a frolicking bossa groove awash in the gentle sound of waves one can imagine lapping against the shores of Brazil’s Praia da Fazenda, or perhaps the Taipus de Fora. “Samba de Romance” teems with the mischievous tones of two lovers playing not cat and mouse, but cat and cat (!), until the chase ends in a passionate nighttime rendezvous in sultry island air.
The pulsating bounce of “Island Song,” with its mood set by Moore’s vibrant flugelhorn and the percussion of Ronald Johnson and Nengue Hernandez, is just about everything one would imagine an island song to be, while “Lost My Love” is really “Feel Like Making Love” in delicious disguise and the album’s close, “Beyond The Dream,” is a 13-minute enlivening, reflective odyssey on everything one has lived, and all that remains to be achieved.
This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, extensive liner notes and never seen before photos.
Buy / Stream it here: https://orcd.co/clapclap
In association with DJ Amir‘s 180 Proof Records, BBE Music reissues ‘Clap Clap! The Joyful Noise’, an unreleased gem from Strata Records founder Kenny Cox.
In 1974, Strata Records Inc. was well known in Detroit for their art gallery, live music venue and record label, turning out records by artists like Kenny Cox and Lyman Woodard. In 2012, nearly 4 decades later, Scion commissioned DJ Amir Abdullah to research and create an exhibit based on lost youth culture in Detroit for a new online museum. Familiar with the history of Strata Inc., Amir decided the best way to define the era was through the lens of the labels brief but potent influence on the city’s culture. Inspired by this project, Amir set out to re-introduce the world to Strata Inc. through his own label, 180 Proof Records.
The Lyman Woodard Organization’s Saturday Night Special (1975) is perhaps the jewel of the label, but the LP that was to follow – Cox’s unreleased Clap Clap! The Joyful Noise, is at the same time radical and sublime. It’s a visionary work, inspired by both the innocence and zeal of his 3-year-old son, Philip, and also the culture of Latin America and Caribbean lands Cox admits in the album’s original liner notes that, “oddly enough…I’ve never seen.”
The title track, “Clap Clap! The Joyful Noise” is a frolicking bossa groove awash in the gentle sound of waves one can imagine lapping against the shores of Brazil’s Praia da Fazenda, or perhaps the Taipus de Fora. “Samba de Romance” teems with the mischievous tones of two lovers playing not cat and mouse, but cat and cat (!), until the chase ends in a passionate nighttime rendezvous in sultry island air.
The pulsating bounce of “Island Song,” with its mood set by Moore’s vibrant flugelhorn and the percussion of Ronald Johnson and Nengue Hernandez, is just about everything one would imagine an island song to be, while “Lost My Love” is really “Feel Like Making Love” in delicious disguise and the album’s close, “Beyond The Dream,” is a 13-minute enlivening, reflective odyssey on everything one has lived, and all that remains to be achieved.
This previously unreleased masterpiece by Kenny Cox has been remastered from the original reel to reel masters, along with the artwork, extensive liner notes and never seen before photos.
BBE Music announces the first ever reissue of jazz bassist David Wertman’s rare 1983 Sun Ensemble LP ‘Wide Eye Culture’, carefully remastered and presented as a deluxe expanded edition, with 8 bonus tracks.
Five years after the release of his Sun Ensemble debut ‘Earthly Delights’, also reissued on BBE Music, spiritual jazz bassist and prolific composer David Wertman returned to the studio in 1983 to record the follow-up, ‘Wide Eye Culture’. Now, thanks to David’s wife and musical partner Lynne Meryl, in this special deluxe edition of the album we’ve been able to include three more obscure independent releases by Wertman and Meryl, which bridge the gap between the two LPs. Two impossibly rare 1981 flexi-discs and one 1982 two-track ’45 serve to chart Wertman’s musical evolution as he settled in the lush Pioneer Valley of Massachusetts and surrounded himself with a whole new array of talented collaborators and musical influences.
Emerging from the ferment of New York’s infamous free jazz loft scene, where the music was free and ‘out’, the sessions went on for hours and the characters were dangerous and wild, David Wertman had spent his young adulthood attending what he described as “the college of ‘da streets’.” Having sharpened his skills against those of Billy Bang, Arthur Blythe, Steve Reid and Charles Tyler, among others, during the late ‘70s, Wertman made the move to Northampton, MA where his irrepressible, magnetic energy quickly drew a diverse, openminded and talented group of players into his orbit.
Alongside a core trio of vocalist Lynne Meryl, pianist Tom McClung and Wertman himself, the Wide Eye Culture album features future Sting/Don Cherry collaborator Tony Vacca on drums and Aretha Franklin/Tony Bennet band member turned music lecturer Tim Atherton on trombone. Other local musicians and friends feature on the 1981 flexi-disc ‘You Are My Love’, recorded under Lynne Meryl’s name only; the Sun Ensemble’s ‘Up In The Sky’, recorded that same year at Smith College’s John M. Greene Hall; and 1982’s 7” ’45RPM release, ‘Blessing of Love/Golden Light’, recorded as David Wertman & Lynne Meryl. Soon after these recordings, Tom McClung left for Europe to perform with Archie Shepp and Steve McCraven, where he remained until his death in 2017.
With the addition of McClung’s lyrical, effortless piano playing, Lynne Meryl’s acrobatic vocals and Vacca’s expressive, visceral drumming, Wide Eye Culture is perhaps more accessible than Wertman’s earlier works, although flashes of his experimental freeform style still remain throughout these discs. “What Dave played was like nothing I’d heard before. I was inexperienced as a jazz singer, but I opened up quickly and started to improvise and scat. Coming from the New York loft free jazz scene, Dave had never played structured tunes before. So, he lifted me up and I grounded him. It was perfect.” – Lynne Meryl
In association with DJ Amir and 180 Proof Records, BBE Music proudly presents ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, a brand new celebration of the iconic imprint.
Buy / Stream the album here: https://orcd.co/room427
The ninth album in BBE Music’s J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz.
Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan.
This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze’s distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry.
The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken’s strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass.
At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy.
This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/room427
The ninth album in BBE Music’s J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz.
Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan.
This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze’s distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry.
The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken’s strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass.
At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy.
This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/room427
The ninth album in BBE Music’s J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz.
Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan.
This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze’s distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry.
The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken’s strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass.
At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy.
This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the album here: https://orcd.co/room427
The ninth album in BBE Music’s J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz.
Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan.
This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze’s distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry.
The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken’s strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass.
At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy.
This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream it here: https://orcd.co/creativemusicians
Announcing new album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the first single from the project, ‘Creative Musicians, featuring remixes by Waajeed and Henrik Schwarz.
‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.
The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron.
Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour!
Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher!
And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization.
Check out the single: https://orcd.co/creativemusicians Pre-order the album: https://orcd.co/jazzanovastrata
Announcing new album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the first single from the project, ‘Creative Musicians, featuring remixes by Waajeed and Henrik Schwarz.
‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.
The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron.
Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour!
Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher!
And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization.
Buy or Stream: https://orcd.co/creativemusicians
Announcing new album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the first single from the project, ‘Creative Musicians, featuring remixes by Waajeed and Henrik Schwarz.
‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.
The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron.
Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour!
Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher!
And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization.
Buy / Stream it here: https://orcd.co/creativemusicians
Announcing new album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the first single from the project, ‘Creative Musicians, featuring remixes by Waajeed and Henrik Schwarz.
‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.
The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron.
Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour!
Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher!
And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
BBE Music celebrates its 25th year of Barely Breaking Even with 'Staff Selections 2021', a bumper pack of musical highlights from the last 12 months, as chosen by the label team themselves.
In another year dominated by uncertainty, crippling manufacturing delays and a global shipping crisis, BBE Music has managed to get a surprising amount of music out into the world during 2021, even if none of the staff are entirely sure exactly how they did it.
The last year has seen multiple reissues in DJ Amir's continued exploration of Detroit's iconic Strata Records, a benchmark 20th anniversary box set and book celebrating J Dilla's 'Welcome 2 Detroit', acclaimed David Bowie tribute album 'Modern Love', more contemporary Afro-centric cuts on BBE's sister label Batakari Music, and fresh original material from MF Robots, Sean Khan and Sons of the Sun.
Sit back, relax, and enjoy this selection of almost 40 tracks, featuring an exclusive reimagining of Beatchild and Justin Nozuka's 'The Only Difference' crafted by BBE artist and staffer, Sumsuch.
We wouldn't still be here after 25 years if it wasn't for your support and encouragement, so we'd like to extend our eternal thanks to you all, whether you've bought a record, attended a gig or streamed a song of ours over the last quarter century. You're a vital part of the BBE story and we look forward to journeying on with you, into 2022 and beyond.
Stay safe, and thank you all once again, from all of us.
Buy / Stream the album here: https://orcd.co/room427
The ninth album in BBE Music’s J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz.
Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan.
This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze’s distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry.
The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken’s strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass.
At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy.
This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies.
The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Gratidão (grateful in Portuguese) is the new single from Tekilla on BBE’s sister label Batakari Music, produced by one of Portuguese hip hop’s biggest rappers: Sam The Kid.
Says Tekilla: “this track was composed during a period of personal reflection. At a time that chaos is mostly everywhere, it becomes difficult to see the positive side, but I always try to see the good side of things. I am sure that many of those who hear it will identify - I invite everyone to do a deeper retrospective and I’m sure you’ll find you did good in the end. It's time to spread love, to give thanks instead of regret. I invited Sam The Kid to produce, who I grew up with in the hip hop culture and who is probably one of those who best understands my art. Also joining us for a Portuguese-speaking touch of Brazil is Camila Masiso leading the chorus and bringing tropicality and good vibes to this track.”
Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler.
Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!”
Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!”
For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.
Buy / Sream it here: https://orcd.co/streetrap
Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler.
Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!”
Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!”
For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.
Buy / Stream it here : https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Sream it here: https://orcd.co/streetrap
Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler.
Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!”
Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!”
For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.
Buy / Stream it here : https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Stream it here : https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy /Stream it here: https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Stream it here : https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Stream it here : https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Sream it here: https://orcd.co/streetrap
Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler.
Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!”
Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!”
For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.
Available on vinyl, CD or digital formats: https://orcd.co/sonsofthesun
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films.
Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
Pre-order 2LP vinyl: https://orcd.co/wine4melomanes
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
Tracklist 1. Isabelle Mayereau – Jeux de Regards 2. Nemo – Nemo, Jungle Jim 3. Erik Tagg – Got to Be Lovin’ You 4. Achim Kück & Friends – Wind 5. The Mike Nock Underground – Wax Planet 6. Horace Silver, The Los Angeles Modern String Orchestra – Scott Joplin 7. Carmen Lundy – Have a Little Faith 8. Embryo – Knast-Fun 9. Siegfried Kessler, Serge Bringolf – Sigi Dance 10. Frédéric Rabold Crew – Ride On 11. Stan Kenton & His Orchestra – Samba De Haps 12. Larry Rose Band – The Sand
Buy / stream the single: https://orcd.co/enjaillement
Following the 2020 release of the Boddhi Satva-produced album ‘Trouble-Fête’ by “Belgican” (Belgian / African) rapper Badi, comes ‘Enjaillement’: a brand new single recorded by the pair and released on Batakari Music.
The party is not over for Badi & Boddhi Satva, it has only just (re)started! ‘Enjaillement’ is about the excitement, effervescence and frenzy of the return to the dance floor that we’ve missed so much over the past eighteen months!
Badi will be in concert on December 2nd at TransMusicales in Rennes and on December 4th in Paris at FGO Barbara. The opportunity to finally celebrate the release of the latest album Trouble-Fête in France and party together!
Buy / stream the single: orcd.co/enjaillement
Following the 2020 release of the Boddhi Satva-produced album ‘Trouble-Fête’ by “Belgican” (Belgian / African) rapper Badi, comes ‘Enjaillement’: a brand new single recorded by the pair and released on Batakari Music.
The party is not over for Badi & Boddhi Satva, it has only just (re)started! ‘Enjaillement’ is about the excitement, effervescence and frenzy of the return to the dance floor that we’ve missed so much over the past eighteen months!
Badi will be in concert on December 2nd at TransMusicales in Rennes and on December 4th in Paris at FGO Barbara. The opportunity to finally celebrate the release of the latest album Trouble-Fête in France and party together!
Buy / stream the single: orcd.co/enjaillement
Following the 2020 release of the Boddhi Satva-produced album ‘Trouble-Fête’ by “Belgican” (Belgian / African) rapper Badi, comes ‘Enjaillement’: a brand new single recorded by the pair and released on Batakari Music.
The party is not over for Badi & Boddhi Satva, it has only just (re)started! ‘Enjaillement’ is about the excitement, effervescence and frenzy of the return to the dance floor that we’ve missed so much over the past eighteen months!
Badi will be in concert on December 2nd at TransMusicales in Rennes and on December 4th in Paris at FGO Barbara. The opportunity to finally celebrate the release of the latest album Trouble-Fête in France and party together!
Buy / stream the single: orcd.co/enjaillement
Following the 2020 release of the Boddhi Satva-produced album ‘Trouble-Fête’ by “Belgican” (Belgian / African) rapper Badi, comes ‘Enjaillement’: a brand new single recorded by the pair and released on Batakari Music.
The party is not over for Badi & Boddhi Satva, it has only just (re)started! ‘Enjaillement’ is about the excitement, effervescence and frenzy of the return to the dance floor that we’ve missed so much over the past eighteen months!
Badi will be in concert on December 2nd at TransMusicales in Rennes and on December 4th in Paris at FGO Barbara. The opportunity to finally celebrate the release of the latest album Trouble-Fête in France and party together!
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
With new LP ‘Break The Wall’ freshly issued on BBE Music, MF Robots unleash brand new remixes of single ‘Gold’ by UK production hero Atjazz and Houston beatmaking duo Beanz N Kornbread.
Martin Iveson, aka Atjazz, is simply a mainstay of the UK scene, bringing electronic, jazz and deep house fans together in praise of his unique production aesthetic. His ‘Soul Love’ remix of ‘Gold’ shimmers with dreamy keys and lush subtle atmospherics.
Fresh from reworking Sons Of The Sun’s ‘Underwater Dreaming’ for BBE Music, Donald Johnson & Kenneth Roy, aka Beanz N Kornbread, return to the label with a lo-fi, warm and soulful ‘Nawfside’ remix of ‘Gold’. The Texas duo have gained notoriety writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg, in between Johnson’s hectic tour schedule as drummer for Khruangbin.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away.
They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
With new LP ‘Break The Wall’ freshly issued on BBE Music, MF Robots unleash brand new remixes of single ‘Gold’ by UK production hero Atjazz and Houston beatmaking duo Beanz N Kornbread.
Martin Iveson, aka Atjazz, is simply a mainstay of the UK scene, bringing electronic, jazz and deep house fans together in praise of his unique production aesthetic. His ‘Soul Love’ remix of ‘Gold’ shimmers with dreamy keys and lush subtle atmospherics.
Fresh from reworking Sons Of The Sun’s ‘Underwater Dreaming’ for BBE Music, Donald Johnson & Kenneth Roy, aka Beanz N Kornbread, return to the label with a lo-fi, warm and soulful ‘Nawfside’ remix of ‘Gold’. The Texas duo have gained notoriety writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg, in between Johnson’s hectic tour schedule as drummer for Khruangbin.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away.
They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
With new LP ‘Break The Wall’ freshly issued on BBE Music, MF Robots unleash brand new remixes of single ‘Gold’ by UK production hero Atjazz and Houston beatmaking duo Beanz N Kornbread.
Martin Iveson, aka Atjazz, is simply a mainstay of the UK scene, bringing electronic, jazz and deep house fans together in praise of his unique production aesthetic. His ‘Soul Love’ remix of ‘Gold’ shimmers with dreamy keys and lush subtle atmospherics.
Fresh from reworking Sons Of The Sun’s ‘Underwater Dreaming’ for BBE Music, Donald Johnson & Kenneth Roy, aka Beanz N Kornbread, return to the label with a lo-fi, warm and soulful ‘Nawfside’ remix of ‘Gold’. The Texas duo have gained notoriety writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg, in between Johnson’s hectic tour schedule as drummer for Khruangbin.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away.
They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy 2LP / CD, download or stream: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi- instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
2LP vinyl / digital: https://orcd.co/wine4melomanes
DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique compilation album concept, matching fine wines with rare pieces of music produced in the same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements, voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France, Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016, Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and understated quality evident throughout. Frédéric Beneix’s expert wine pairing suggestions can be found in the album liner notes, or at wine4melomanes.com
DJ and producer Frédéric Beneix has released original music and edits on several internationally respected imprints, and he also serves as sommelier editor for Sommeliers International Magazine. DJ Cam is known for his pioneering abstract hip-hop musical compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him international acclaim.
With their self-titled debut album about to drop on BBE Music, transatlantic duo Sons of The Sun offer up new single ‘Sun Gods’, with a remix produced by M. Jelani Brooks featuring MonoNeon, Frank Moka and Mr. Lif.
A remote collaboration between Texas singer-songwriter JTronius and London-based producer Maverick Quest, Sons of the Sun features a truly global selection of luminary guests and musicians. ‘Sun Gods is surely one of the forthcoming debut album’s highlights, featuring trumpet by Jason Hunter and percussion by Brandon Mayes.
“It’s a dedication to the sun and the various ways throughout time people have perceived how the sun should be personified and spiritualized” says JTronius. “I told M. Jelani Brooks we were lookin’ for the right producer for a possible Sun Gods Remix. We met in Dallas and he said, ‘I’ll produce it and get MonoNeon and Frank Moka on there as well’. It was a no-brainer. Maverick and I both thought it needed the right rapper to bless it and a mutual friend of Mr. Lif’s FaceTimed me shortly after and said he needed me on a hook for one of his jams, so I told him I’d make a trade if he would perform a verse on the remix. Then Carl Eisman sprinkled some gorgeous guitar on there, and voila.”
Perfectly capturing the spirit of the Sons of The Sun’s organic and natural collaborative vision, this special remix was mixed by Grammy nominated engineer Clinton “Ubiquity” McCreery and mastered by Shawn Joseph at Optimum Mastering. Album ‘Sons of The Sun’ will be released December 3rd 2021 on vinyl, CD and digital formats.
With their self-titled debut album about to drop on BBE Music, transatlantic duo Sons of The Sun offer up new single ‘Sun Gods’, with a remix produced by M. Jelani Brooks featuring MonoNeon, Frank Moka and Mr. Lif.
A remote collaboration between Texas singer-songwriter JTronius and London-based producer Maverick Quest, Sons of the Sun features a truly global selection of luminary guests and musicians. ‘Sun Gods is surely one of the forthcoming debut album’s highlights, featuring trumpet by Jason Hunter and percussion by Brandon Mayes.
“It’s a dedication to the sun and the various ways throughout time people have perceived how the sun should be personified and spiritualized” says JTronius. “I told M. Jelani Brooks we were lookin’ for the right producer for a possible Sun Gods Remix. We met in Dallas and he said, ‘I’ll produce it and get MonoNeon and Frank Moka on there as well’. It was a no-brainer. Maverick and I both thought it needed the right rapper to bless it and a mutual friend of Mr. Lif’s FaceTimed me shortly after and said he needed me on a hook for one of his jams, so I told him I’d make a trade if he would perform a verse on the remix. Then Carl Eisman sprinkled some gorgeous guitar on there, and voila.”
Perfectly capturing the spirit of the Sons of The Sun’s organic and natural collaborative vision, this special remix was mixed by Grammy nominated engineer Clinton “Ubiquity” McCreery and mastered by Shawn Joseph at Optimum Mastering. Album ‘Sons of The Sun’ will be released December 3rd 2021 on vinyl, CD and digital formats.
With their self-titled debut album about to drop on BBE Music, transatlantic duo Sons of The Sun offer up new single ‘Sun Gods’, with a remix produced by M. Jelani Brooks featuring MonoNeon, Frank Moka and Mr. Lif.
A remote collaboration between Texas singer-songwriter JTronius and London-based producer Maverick Quest, Sons of the Sun features a truly global selection of luminary guests and musicians. ‘Sun Gods is surely one of the forthcoming debut album’s highlights, featuring trumpet by Jason Hunter and percussion by Brandon Mayes.
“It’s a dedication to the sun and the various ways throughout time people have perceived how the sun should be personified and spiritualized” says JTronius. “I told M. Jelani Brooks we were lookin’ for the right producer for a possible Sun Gods Remix. We met in Dallas and he said, ‘I’ll produce it and get MonoNeon and Frank Moka on there as well’. It was a no-brainer. Maverick and I both thought it needed the right rapper to bless it and a mutual friend of Mr. Lif’s FaceTimed me shortly after and said he needed me on a hook for one of his jams, so I told him I’d make a trade if he would perform a verse on the remix. Then Carl Eisman sprinkled some gorgeous guitar on there, and voila.”
Perfectly capturing the spirit of the Sons of The Sun’s organic and natural collaborative vision, this special remix was mixed by Grammy nominated engineer Clinton “Ubiquity” McCreery and mastered by Shawn Joseph at Optimum Mastering. Album ‘Sons of The Sun’ will be released December 3rd 2021 on vinyl, CD and digital formats.
With their self-titled debut album about to drop on BBE Music, transatlantic duo Sons of The Sun offer up new single ‘Sun Gods’, with a remix produced by M. Jelani Brooks featuring MonoNeon, Frank Moka and Mr. Lif.
A remote collaboration between Texas singer-songwriter JTronius and London-based producer Maverick Quest, Sons of the Sun features a truly global selection of luminary guests and musicians. ‘Sun Gods is surely one of the forthcoming debut album’s highlights, featuring trumpet by Jason Hunter and percussion by Brandon Mayes.
“It’s a dedication to the sun and the various ways throughout time people have perceived how the sun should be personified and spiritualized” says JTronius. “I told M. Jelani Brooks we were lookin’ for the right producer for a possible Sun Gods Remix. We met in Dallas and he said, ‘I’ll produce it and get MonoNeon and Frank Moka on there as well’. It was a no-brainer. Maverick and I both thought it needed the right rapper to bless it and a mutual friend of Mr. Lif’s FaceTimed me shortly after and said he needed me on a hook for one of his jams, so I told him I’d make a trade if he would perform a verse on the remix. Then Carl Eisman sprinkled some gorgeous guitar on there, and voila.”
Perfectly capturing the spirit of the Sons of The Sun’s organic and natural collaborative vision, this special remix was mixed by Grammy nominated engineer Clinton “Ubiquity” McCreery and mastered by Shawn Joseph at Optimum Mastering. Album ‘Sons of The Sun’ will be released December 3rd 2021 on vinyl, CD and digital formats.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Buy / Stream it here: https://orcd.co/sacalo
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Sácalo, which means ‘Get It Out’, is a stunning three way collaboration between Boddhi Satva, South Africa’s very own Mr. Luu, and Spanish-born / Los Angeles-based Davi Lorenzo. Lorenzo’s rich vocal tones and lyrics provide a perfect match for Satva and Mr. Luu’s complimentary production, all combining to summon up a very unique feel.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/sacalo
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Sácalo, which means ‘Get It Out’, is a stunning three way collaboration between Boddhi Satva, South Africa’s very own Mr. Luu, and Spanish-born / Los Angeles-based Davi Lorenzo. Lorenzo’s rich vocal tones and lyrics provide a perfect match for Satva and Mr. Luu’s complimentary production, all combining to summon up a very unique feel.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream: https://orcd.co/goldremixed
With new LP ‘Break The Wall’ freshly issued on BBE Music, MF Robots unleash brand new remixes of single ‘Gold’ by UK production hero Atjazz and Houston beatmaking duo Beanz N Kornbread.
Martin Iveson, aka Atjazz, is simply a mainstay of the UK scene, bringing electronic, jazz and deep house fans together in praise of his unique production aesthetic. His ‘Soul Love’ remix of ‘Gold’ shimmers with dreamy keys and lush subtle atmospherics.
Fresh from reworking Sons Of The Sun’s ‘Underwater Dreaming’ for BBE Music, Donald Johnson & Kenneth Roy, aka Beanz N Kornbread, return to the label with a lo-fi, warm and soulful ‘Nawfside’ remix of ‘Gold’. The Texas duo have gained notoriety writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg, in between Johnson’s hectic tour schedule as drummer for Khruangbin.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away.
They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
BBE Music presents a brand new remix of the 1982 Rim & Kasa classic, ‘Love Me For Real’, created by the L.A. duo of Denise Love Hewett and Yung Spielburg.
Former New Yorker, now Los Angeles based DJ Denise Love Hewett joined forces with fellow NYC export, musician, and producer Yung Spielburg for the rework of ‘Love Me For Real’, having heard the track on the soundtrack to the 2019 movie ‘Big Time Adolescence’.
“My ears are always ticking for songs to add to my sets to keep them fresh” says Hewett. “I heard it in a film soundtrack and loved it! I started playing it but had an urge to rework some components for a club setting. I called up Lenny (Spielburg) to collaborate on the remix and between both of our visions, we found our way to this awesome result.”
Adding rock-solid House drum patterns and updating the song’s production aesthetic for modern dancefloors, Hewett and Spielberg’s version makes great use of the swirling synths, catchy vocals and unique Latin Afro-Disco vibe which has made ‘Love Me For Real’ an international hit since its 2015 BBE reissue.
BBE Music presents a brand new remix of the 1982 Rim & Kasa classic, ‘Love Me For Real’, created by the L.A. duo of Denise Love Hewett and Yung Spielburg.
Former New Yorker, now Los Angeles based DJ Denise Love Hewett joined forces with fellow NYC export, musician, and producer Yung Spielburg for the rework of ‘Love Me For Real’, having heard the track on the soundtrack to the 2019 movie ‘Big Time Adolescence’.
“My ears are always ticking for songs to add to my sets to keep them fresh” says Hewett. “I heard it in a film soundtrack and loved it! I started playing it but had an urge to rework some components for a club setting. I called up Lenny (Spielburg) to collaborate on the remix and between both of our visions, we found our way to this awesome result.”
Adding rock-solid House drum patterns and updating the song’s production aesthetic for modern dancefloors, Hewett and Spielberg’s version makes great use of the swirling synths, catchy vocals and unique Latin Afro-Disco vibe which has made ‘Love Me For Real’ an international hit since its 2015 BBE reissue.
Buy / Stream it here: https://orcd.co/xango
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Xangô features Grammy Award-winning percussion master Jorge Bezerra, who delivers an amazing rhythmical voyage in honour of the eponymous Orisha, or God, of the Yoruba faith. The track’s Latin jazz groove, coupled with Boddhi Satva’s Ancestral Soul vibe, is a stunning combination that’s sure to take dancefloors by storm all over the globe.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/sacalo
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Sácalo, which means ‘Get It Out’, is a stunning three way collaboration between Boddhi Satva, South Africa’s very own Mr. Luu, and Spanish-born / Los Angeles-based Davi Lorenzo. Lorenzo’s rich vocal tones and lyrics provide a perfect match for Satva and Mr. Luu’s complimentary production, all combining to summon up a very unique feel.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/xango
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Xangô features Grammy Award-winning percussion master Jorge Bezerra, who delivers an amazing rhythmical voyage in honour of the eponymous Orisha, or God, of the Yoruba faith. The track’s Latin jazz groove, coupled with Boddhi Satva’s Ancestral Soul vibe, is a stunning combination that’s sure to take dancefloors by storm all over the globe.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/xango
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Xangô features Grammy Award-winning percussion master Jorge Bezerra, who delivers an amazing rhythmical voyage in honour of the eponymous Orisha, or God, of the Yoruba faith. The track’s Latin jazz groove, coupled with Boddhi Satva’s Ancestral Soul vibe, is a stunning combination that’s sure to take dancefloors by storm all over the globe.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/xango
Issued as a joint venture between Offering Recordings and BBE’s sister label Batakari, Boddhi Satva unleashes ‘Xangô’ and ‘Sácalo’, the first two singles taken from ‘Manifestation’, his highly anticipated third album due for release early in 2022.
Released on the same day, Xangô and Sácalo represent the two sides of trailblazing Central African producer Boddhi Satva’s unique sound, from percussive, underground deep Afro- house to deeply rooted electronic Afro-Latin soul.
Xangô features Grammy Award-winning percussion master Jorge Bezerra, who delivers an amazing rhythmical voyage in honour of the eponymous Orisha, or God, of the Yoruba faith. The track’s Latin jazz groove, coupled with Boddhi Satva’s Ancestral Soul vibe, is a stunning combination that’s sure to take dancefloors by storm all over the globe.
These first singles nicely set the tone for next year’s Boddhi Satva long player, ‘Manifestation’.
Buy / Stream it here: https://orcd.co/supremelove
Trailblazing UK jazz renegade, saxophonist Sean Khan delivers his scintillating new album ‘Supreme Love: a Journey Through Coltrane’ on BBE Music.
“Who is John Coltrane for me?” asks Khan. “He is man, legend, myth, storyteller, sage and atmosphere. My road and journey has been a rocky one, and like most on this journey, I have carved a path full of mistakes and triumphs. However, throughout my life Coltrane’s music has been a constant.”
Weaving together disparate strands of the UK music scene (jazz, dance, broken beat and electronic) together onto one record, Supreme Love is presented in three parts: autobiography, homage and encyclopaedia.
A pioneer of the Broken Beat movement early in the new millennium, working with Omar, Bugz in the Attic and 4hero among others, Khan enlisted the input of two old friends, Kaidi Tatham and Daz I Kue, who each contribute a future-minded yet reverential sense of originality to the album.
Also featured on Supreme Love are two legends of UK jazz, Peter King and Jim Mullen, both of whom bring a rich and palpable sense of history to the project. Guitarist Jim Mullen has played with Brian Auger, toured with the Average White Band and recorded with Terry Callier over his long career. Mullen was also a regular fixture at Ronnie Scott’s, as was saxophonist Peter King, who actually performed at the club’s opening night, as well as working with two of Coltrane’s favourite drummers, Philly Joe Jones and Elvin Jones. Sadly Peter King’s contribution to ‘Supreme Love’ would be his last recording session, and he passed away in August 2020.
Also featured among a talented and diverse group of performers on the album is Cinematic Orchestra front-woman Heidi Vogel, who adds her distinctive, soulful voice to Khan’s, and Coltrane’s, heartfelt lyrics.
“I have always been a strange prisoner to my ambition” says Sean “and most of my recordings bear testimony to this, with this record being the next part of that evolution. I made a conscious effort to represent all of Coltrane's main artistic periods from hard bop (with Miles Davis), to sheets of sound (Giant Steps, Moments Notice), spiritual jazz (Love Supreme) and finally his last, most experimental and cosmic period (Interstellar Space). I have never heard a record that attempts to reflect all of the great man’s epochs in this way and use the recording artist’s autobiography (my own) as a conduit to these ends, and so here I am, for better or for worse.”
BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun.
Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self- dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy- awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here : https://orcd.co/breakthewall
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
BBE Music’s sister label Batakari Music presents ‘The Red Line EP’, the debut release from Nigerian artist Jojoftheejungle.
Hailing from Ikeja, Lagos, home to both Femi Kuti’s ‘Africa Shrine’ and Lagbaja’s ‘Motherland’, Jojoftheejungle (aka J.O.J) got his start with local group Antigenx, before going solo in 2017.
Penning lyrics about hope, love and resilience, Jojoftheejungle’s distinctive vocals have featured on collaborations with Stgthaprodigy, Spotless, Jillionaire, MixtaDimz, Jaysynths, Bem Beats, Boddhi Satva and Hits Factory among others.
Featuring productions from Major Lazer’s Jillionaire, Beatsbymayor and Craybeats as well as Jojoftheejungle himself, The Red Line EP effortlessly blends Afrobeats, dancehall and pop sounds across its five charismatic, summery, feel-good tracks.
“The tracks on the EP talk about my personal experiences on the streets of Lagos” says J.O.J. “I’m sure a lot of people go through them daily. Although it’s for everyone, the EP is especially dedicated to those who have gone through a lot of emotional rollercoasters, and are still fighting. The Red Line is hope.”
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
BBE Music’s sister label Batakari Music presents ‘The Red Line EP’, the debut release from Nigerian artist Jojoftheejungle.
Hailing from Ikeja, Lagos, home to both Femi Kuti’s ‘Africa Shrine’ and Lagbaja’s ‘Motherland’, Jojoftheejungle (aka J.O.J) got his start with local group Antigenx, before going solo in 2017.
Penning lyrics about hope, love and resilience, Jojoftheejungle’s distinctive vocals have featured on collaborations with Stgthaprodigy, Spotless, Jillionaire, MixtaDimz, Jaysynths, Bem Beats, Boddhi Satva and Hits Factory among others.
Featuring productions from Major Lazer’s Jillionaire, Beatsbymayor and Craybeats as well as Jojoftheejungle himself, The Red Line EP effortlessly blends Afrobeats, dancehall and pop sounds across its five charismatic, summery, feel-good tracks.
“The tracks on the EP talk about my personal experiences on the streets of Lagos” says J.O.J. “I’m sure a lot of people go through them daily. Although it’s for everyone, the EP is especially dedicated to those who have gone through a lot of emotional rollercoasters, and are still fighting. The Red Line is hope.”
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
BBE Music’s sister label Batakari Music presents ‘The Red Line EP’, the debut release from Nigerian artist Jojoftheejungle.
Hailing from Ikeja, Lagos, home to both Femi Kuti’s ‘Africa Shrine’ and Lagbaja’s ‘Motherland’, Jojoftheejungle (aka J.O.J) got his start with local group Antigenx, before going solo in 2017.
Penning lyrics about hope, love and resilience, Jojoftheejungle’s distinctive vocals have featured on collaborations with Stgthaprodigy, Spotless, Jillionaire, MixtaDimz, Jaysynths, Bem Beats, Boddhi Satva and Hits Factory among others.
Featuring productions from Major Lazer’s Jillionaire, Beatsbymayor and Craybeats as well as Jojoftheejungle himself, The Red Line EP effortlessly blends Afrobeats, dancehall and pop sounds across its five charismatic, summery, feel-good tracks.
“The tracks on the EP talk about my personal experiences on the streets of Lagos” says J.O.J. “I’m sure a lot of people go through them daily. Although it’s for everyone, the EP is especially dedicated to those who have gone through a lot of emotional rollercoasters, and are still fighting. The Red Line is hope.”
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
BBE Music’s sister label Batakari Music presents ‘The Red Line EP’, the debut release from Nigerian artist Jojoftheejungle.
Hailing from Ikeja, Lagos, home to both Femi Kuti’s ‘Africa Shrine’ and Lagbaja’s ‘Motherland’, Jojoftheejungle (aka J.O.J) got his start with local group Antigenx, before going solo in 2017.
Penning lyrics about hope, love and resilience, Jojoftheejungle’s distinctive vocals have featured on collaborations with Stgthaprodigy, Spotless, Jillionaire, MixtaDimz, Jaysynths, Bem Beats, Boddhi Satva and Hits Factory among others.
Featuring productions from Major Lazer’s Jillionaire, Beatsbymayor and Craybeats as well as Jojoftheejungle himself, The Red Line EP effortlessly blends Afrobeats, dancehall and pop sounds across its five charismatic, summery, feel-good tracks.
“The tracks on the EP talk about my personal experiences on the streets of Lagos” says J.O.J. “I’m sure a lot of people go through them daily. Although it’s for everyone, the EP is especially dedicated to those who have gone through a lot of emotional rollercoasters, and are still fighting. The Red Line is hope.”
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
Buy the 2LP/CD/Digital album: https://orcd.co/atakoramanu
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM.
Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu.
After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years.
There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador RecordingStudios in Kumasi, at that time the country’s largest independent label.
On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up – as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here.
As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars), and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players.
THE MUSIC
A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ.
We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa.
But Atakora doesn’t forget the essential role of brass and woodwind in quality Highlife, as can be heard in Super Otete Impomamu, with its twin-sax punctuating riffs, and in the ‘mambo’ sections of the dancefloor killer Osebo Anyami Ankyemi. Atakora Manu passed away in 2015 but left an abundance of beautiful music. This double-album reissue is a long-overdue tip of the hat to one of Highlife’s more underrated stars-universally respected by fellow musicians but still to be properly rediscovered by a new generation of Highlife fans.
Eddy Ramich presents an exclusive DJ mix to celebrate the release of new compilation 'Croatian Blue' - out now on CD and digital formats.
Buy or stream the album: https://orcd.co/croatianblue
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
Buy / stream the album: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno. “It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy / Stream it here: https://orcd.co/azawala
Named after a word in Ghana’s Fante language, meaning “it’s up to you”, Sean Khan presents ‘Azawala’, the second single from his upcoming album ‘Supreme Love : a Journey Through Coltrane’, featuring UK jazz pioneer Peter King and a remix by Kaidi Tatham.
Steeped in 12/8 African rhythms, Azawala’s overall feel pays homage to Coltrane’s recordings of such classics as Ole, My Favourite Things, and Afro Blue, acknowledging the essential role of African music and culture within jazz.
This track notably features the powerful last performance by English jazz saxophonist Peter King, who sadly passed away in August 2020, shortly after the recording. The historical significance of King’s artistic career simply cannot be over-stated. It’s safe to say he was probably the last surviving link between the legends of the 1960s New York scene and Europe. He played the first ever gig at Ronnie Scott’s club in 1959 and went on to perform with, among many others, Philly Joe Jones, Elvin Jones, Bud Powell, Ray Charles; recording with Freddie Hubbard, Tubby Hayes and Miles Davis collaborator George Coleman, to name but a few.
As Khan puts it: “the solo Peter plays on Azawala put simple is world class. I do hope people who know my work and probably know me more for my underground status will open themselves up to Peter’s playing and let a master of the improvised art form tell his story.”
The remix of Azawala is delivered by another undisputed master, this time from the Broken Beat scene: Kaidi Tatham (with a great mixdown by Daz I Kue). Kaidi’s remix features an alternative saxophone solo and original flute arrangements from Khan, moving from an African jazz rhythm into an incredible crescendo of uplifting House.
“So there you have it…” says Sean. “My new single Azawala, one legend on the original and another legend on remix duties, what more could you want?”
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Buy / Stream the song: https://orcd.co/theredline
BBE Music’s sister label Batakari Music presents ‘The Red Line EP’, the debut release from Nigerian artist Jojoftheejungle.
Hailing from Ikeja, Lagos, home to both Femi Kuti’s ‘Africa Shrine’ and Lagbaja’s ‘Motherland’, Jojoftheejungle (aka J.O.J) got his start with local group Antigenx, before going solo in 2017.
Penning lyrics about hope, love and resilience, Jojoftheejungle’s distinctive vocals have featured on collaborations with Stgthaprodigy, Spotless, Jillionaire, MixtaDimz, Jaysynths, Bem Beats, Boddhi Satva and Hits Factory among others.
Featuring productions from Major Lazer’s Jillionaire, Beatsbymayor and Craybeats as well as Jojoftheejungle himself, The Red Line EP effortlessly blends Afrobeats, dancehall and pop sounds across its five charismatic, summery, feel-good tracks.
“The tracks on the EP talk about my personal experiences on the streets of Lagos” says J.O.J. “I’m sure a lot of people go through them daily. Although it’s for everyone, the EP is especially dedicated to those who have gone through a lot of emotional rollercoasters, and are still fighting. The Red Line is hope.”
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
Buy/Stream the EP here: https://orcd.co/brondesburypark
UK multi-instrumentalist Ziggy Funk returns to BBE Music with his third release on the label, the Brondesbury Park EP.
Ziggy Funk is no new name to BBE, having previously issued the EP ‘Red Light Syndrome’ in 2016 and full-length album ‘Boxer’s Fracture’ in 2017 on the label. Now he returns with Afro/Latin inspired two tracker, Brondesbury Park.
Driven by infectious horns and showcasing Ziggy’s love for percussion, title track ‘Brondesbury Park’ is an uptempo dance song with roots in Afrobeat, but with a nod to South American carnival culture and touches of jazz.
Second song ‘Ice Cream’ is more restrained in its approach, but still just as irresistible. The electric guitar takes the lead and hits with eerie overtones as well as elements of funk and blues, over a languid Afrobeat horn and drum workout.
The Brondesbury Park EP is filled with vibrant colours, some immediate and some only revealing themselves with repeated listening. Two tracks with different pulsating drives, both with pure groove at their foundations.
Buy/Stream the album here: https://orcd.co/croatianblue
BBE Music presents Croatian Blue, the debut compilation from DJ and producer Eddy Ramich, showcasing some of the finest musicians and producers from his homeland, many of whom recorded exclusive new material especially for the project.
Founder of Kontrapunkt, one of the longest running club nights in Zagreb and host of a show on the city’s radio station ‘101’ for 18 years, Eddy Ramich has been championing great music in Croatia and beyond for three decades now. Now residing in Berlin, Ramich’s deep roots in Croatia’s music scene have enabled him to feature some of his home country’s most exciting talents on this impeccable and carefully curated selection of music.
With the help of his friend, local DJ and producer Jan Kincl, Eddy began to search for unreleased tracks by some of his favourite artists and also to request original works for the album.
Focussing on fresh creative output coming through the Croatian music scene, the album roams from laidback Balearic sounds and languid jazz, through to Chicago and Detroit influenced House and melodic techno.
“It was really exciting for me to curate this compilation for one of my favourite labels, BBE Music” says Ramich. “The moment couldn’t have been better chosen, as it was just before the COVID epidemic struck, and so the album painted a picture just before the world was changed forever. This can only be a snapshot of the current Croatian scene. I am really curious about what the future holds for the sound of Croatia. Enjoy this small glimpse into the crystal ball.”
Buy/Stream the EP here: https://orcd.co/brondesburypark
UK multi-instrumentalist Ziggy Funk returns to BBE Music with his third release on the label, the Brondesbury Park EP.
Ziggy Funk is no new name to BBE, having previously issued the EP ‘Red Light Syndrome’ in 2016 and full-length album ‘Boxer’s Fracture’ in 2017 on the label. Now he returns with Afro/Latin inspired two tracker, Brondesbury Park.
Driven by infectious horns and showcasing Ziggy’s love for percussion, title track ‘Brondesbury Park’ is an uptempo dance song with roots in Afrobeat, but with a nod to South American carnival culture and touches of jazz.
Second song ‘Ice Cream’ is more restrained in its approach, but still just as irresistible. The electric guitar takes the lead and hits with eerie overtones as well as elements of funk and blues, over a languid Afrobeat horn and drum workout.
The Brondesbury Park EP is filled with vibrant colours, some immediate and some only revealing themselves with repeated listening. Two tracks with different pulsating drives, both with pure groove at their foundations.
Closing out a year’s worth of stellar singles and remixes on BBE Music, MF Robots unveil ‘Gold’, the effervescent final single before the release of their long-awaited new album ‘Break The Wall‘ this autumn.
With an effortless rolling groove punctuated by ultra-tight horn stabs, fans of MF Robots founder Jan Kincaid’s work as one of the Acid Jazz movement’s pioneers will love the timeless arrangement of ‘Gold’. Co-founder Dawn Joseph’s vocal performance simply soars, working beautifully against Jan’s first-verse cameo in a gorgeous and hope-filled head nodding soulful R&B duet.
“This is a song to believe in. The message is simple: don’t give up on yourself and what you can achieve, invest in the eternal truth that Love is the only constant force to heal all our troubles.” – MF Robots.
Keeping it well and truly in the family, band members Alex Montaque (keys) and Naz Adamson (bass) return in their Montaque Adamson guise, sending ‘Gold’ spinning into the soul-jazz stratosphere with their ebulliant remix.
Enjoying support on Radio 2 from Trevor Nelson and getting the remix treatment from Kenny Dope, Kaidi Tatham and Daz-I-Kue for previous singles, MF Robots have a raft of venue and festival bookings across the globe in late 2021 and into 2022, ready to mark the release of album ‘Break The Wall’.
Named after a word in Ghana’s Fante language, meaning “it’s up to you”, Sean Khan presents ‘Azawala’, the second single from his upcoming album ‘Supreme Love : a Journey Through Coltrane’, featuring UK jazz pioneer Peter King and a remix by Kaidi Tatham.
Steeped in 12/8 African rhythms, Azawala’s overall feel pays homage to Coltrane’s recordings of such classics as Ole, My Favourite Things, and Afro Blue, acknowledging the essential role of African music and culture within jazz.
This track notably features the powerful last performance by English jazz saxophonist Peter King, who sadly passed away in August 2020, shortly after the recording. The historical significance of King’s artistic career simply cannot be over-stated. It’s safe to say he was probably the last surviving link between the legends of the 1960s New York scene and Europe. He played the first ever gig at Ronnie Scott’s club in 1959 and went on to perform with, among many others, Philly Joe Jones, Elvin Jones, Bud Powell, Ray Charles; recording with Freddie Hubbard, Tubby Hayes and Miles Davis collaborator George Coleman, to name but a few.
As Khan puts it: “the solo Peter plays on Azawala put simple is world class. I do hope people who know my work and probably know me more for my underground status will open themselves up to Peter’s playing and let a master of the improvised art form tell his story.”
The remix of Azawala is delivered by another undisputed master, this time from the Broken Beat scene: Kaidi Tatham (with a great mixdown by Daz I Kue). Kaidi’s remix features an alternative saxophone solo and original flute arrangements from Khan, moving from an African jazz rhythm into an incredible crescendo of uplifting House.
“So there you have it…” says Sean. “My new single Azawala, one legend on the original and another legend on remix duties, what more could you want?”
Buy / Stream the EP here: https://orcd.co/unselfishdesires
Following comprehensive retrospective collection ‘Nostalgia: Beats of 2008 – 2020’, BBE Music is delighted to share a fresh batch of material from Canadian production powerhouse Beatchild, in the form of his hotly anticipated new EP, ‘Unselfish Desires’.
Unselfish Desires is another perfectly-formed example of the expectedly unexpected sound that has become Beatchild’s signature style, from jazzy, blunted opener ‘Unselfish Desires’ through to 80’s synth-pop inspired, funk-laced closer ‘In My Head’. Scratchy, head-nodding beats combine with original chord progressions and quirky sonic touches, often glued together with the artist’s own mellow vocal tones. A prodigious multi-instrumentalist, Beatchild pays keen attention to the music production process, skillfully combining heterogeneous sounds and beats that combine to lend his music its unique charm.
As for the tracks, let’s have Beatchild, aka Byram Joseph, take us through them one by one:
“One of my personal challenges when creating music that really makes me feel something special is to compose chord progressions that I feel I’ve never heard before. ‘Unselfish Desires’ wrote itself after the Wurlitzer progression was recorded. Everything just fell into place so quickly and naturally. It’s such an incredible feeling when that happens.
‘Adapting’ is a song about false progress. The music is a never ending loop that feels like progression in how it moves from joy to sadness and back again. It’s the perfect paradox musically and I wanted the lyrics to mirror the feeling I got from the music.
Pulling from real life moments has been something I have always shied away from in my writing. I’ve been trying to be more honest and vulnerable and truthfully, I still find it terrifying. In ‘Dance For Love’, I was thinking of when my wife and I force ourselves to dance with each other through difficult moments and exchange our energy when it’s too tense or sad to talk.
‘In My Head’ was pure fun with no specific intention other than to create a feel good experience. My favourite moments when writing music are when I am free to get completely lost in my own head. Songs like this one usually see me jumping around my studio while I compose the lyrics.”
The third volume of Beatchild’s incredible ‘Soul Movement’ album series will be coming on BBE Music soon, but until then, please enjoy this beautifully crafted EP from one of the most unique and dedicated producers out there.
Buy / Stream the EP here: https://orcd.co/unselfishdesires
Following comprehensive retrospective collection ‘Nostalgia: Beats of 2008 – 2020’, BBE Music is delighted to share a fresh batch of material from Canadian production powerhouse Beatchild, in the form of his hotly anticipated new EP, ‘Unselfish Desires’.
Unselfish Desires is another perfectly-formed example of the expectedly unexpected sound that has become Beatchild’s signature style, from jazzy, blunted opener ‘Unselfish Desires’ through to 80’s synth-pop inspired, funk-laced closer ‘In My Head’. Scratchy, head-nodding beats combine with original chord progressions and quirky sonic touches, often glued together with the artist’s own mellow vocal tones. A prodigious multi-instrumentalist, Beatchild pays keen attention to the music production process, skillfully combining heterogeneous sounds and beats that combine to lend his music its unique charm.
As for the tracks, let’s have Beatchild, aka Byram Joseph, take us through them one by one:
“One of my personal challenges when creating music that really makes me feel something special is to compose chord progressions that I feel I’ve never heard before. ‘Unselfish Desires’ wrote itself after the Wurlitzer progression was recorded. Everything just fell into place so quickly and naturally. It’s such an incredible feeling when that happens.
‘Adapting’ is a song about false progress. The music is a never ending loop that feels like progression in how it moves from joy to sadness and back again. It’s the perfect paradox musically and I wanted the lyrics to mirror the feeling I got from the music.
Pulling from real life moments has been something I have always shied away from in my writing. I’ve been trying to be more honest and vulnerable and truthfully, I still find it terrifying. In ‘Dance For Love’, I was thinking of when my wife and I force ourselves to dance with each other through difficult moments and exchange our energy when it’s too tense or sad to talk.
‘In My Head’ was pure fun with no specific intention other than to create a feel good experience. My favourite moments when writing music are when I am free to get completely lost in my own head. Songs like this one usually see me jumping around my studio while I compose the lyrics.”
The third volume of Beatchild’s incredible ‘Soul Movement’ album series will be coming on BBE Music soon, but until then, please enjoy this beautifully crafted EP from one of the most unique and dedicated producers out there.
Buy / Stream the EP here: https://orcd.co/unselfishdesires
Following comprehensive retrospective collection ‘Nostalgia: Beats of 2008 – 2020’, BBE Music is delighted to share a fresh batch of material from Canadian production powerhouse Beatchild, in the form of his hotly anticipated new EP, ‘Unselfish Desires’.
Unselfish Desires is another perfectly-formed example of the expectedly unexpected sound that has become Beatchild’s signature style, from jazzy, blunted opener ‘Unselfish Desires’ through to 80’s synth-pop inspired, funk-laced closer ‘In My Head’. Scratchy, head-nodding beats combine with original chord progressions and quirky sonic touches, often glued together with the artist’s own mellow vocal tones. A prodigious multi-instrumentalist, Beatchild pays keen attention to the music production process, skillfully combining heterogeneous sounds and beats that combine to lend his music its unique charm.
As for the tracks, let’s have Beatchild, aka Byram Joseph, take us through them one by one:
“One of my personal challenges when creating music that really makes me feel something special is to compose chord progressions that I feel I’ve never heard before. ‘Unselfish Desires’ wrote itself after the Wurlitzer progression was recorded. Everything just fell into place so quickly and naturally. It’s such an incredible feeling when that happens.
‘Adapting’ is a song about false progress. The music is a never ending loop that feels like progression in how it moves from joy to sadness and back again. It’s the perfect paradox musically and I wanted the lyrics to mirror the feeling I got from the music.
Pulling from real life moments has been something I have always shied away from in my writing. I’ve been trying to be more honest and vulnerable and truthfully, I still find it terrifying. In ‘Dance For Love’, I was thinking of when my wife and I force ourselves to dance with each other through difficult moments and exchange our energy when it’s too tense or sad to talk.
‘In My Head’ was pure fun with no specific intention other than to create a feel good experience. My favourite moments when writing music are when I am free to get completely lost in my own head. Songs like this one usually see me jumping around my studio while I compose the lyrics.”
The third volume of Beatchild’s incredible ‘Soul Movement’ album series will be coming on BBE Music soon, but until then, please enjoy this beautifully crafted EP from one of the most unique and dedicated producers out there.
Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music.
Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step.
Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born.
“When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of likeminded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.”
Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of offthe-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days.
There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right. Mixed by Clinton McCreery and mastered at The Carvery in London, the album was completed in March 2020, just before the World went into COVID19 lockdown.
As for concept behind the project, “the name of the band, MUSIC FOR ROBOTS, is an entirely tongue in cheek one. It’s a poke at the generic nature of a lot of present day pop music, of a certain “factory” songwriting style and lack of real individuality and personality in ‘manufactured’ music. We want to create strong Soulful music with a timeless classic feel, drawing from a lot of diverse influences that makes you feel good, so maybe you can lose yourself for a little while. We want to create something that touches a feeling in people, the way that we are touched by a lot of great music and want it to still sound good in years to come.”
In this long player, the duo’s musical mission has been both accomplished, and surpassed. The title ‘Break The Wall’ could not be more apt.
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the album here: https://orcd.co/olhosdevidro
BBE Music’s baby sister label Batakari welcomes Portuguese hip-hop pioneer Tekilla, presenting his long awaited fourth studio album, ‘Olhos de Vidro’.
In this, his first full-length project since 2014, Tekilla looks back on a long career in music, from slinging mixtapes back in ’95 right through to the present day. Collaborating with a combination of old friends and new faces, the album features Dino D’Santiago, Papillon and Amaura Margarinhos among others. Directly translated as ‘Glass Eyes’, ‘Olhos de Vidro’ is produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar). An album without filters, benefitting from all the wisdom gained throughout his long journey in music, Olhos de Vidro shows Tekilla’s years of hard work and natural talent maturing together like fine wine.
Telmo Galeano, aka Tekilla, was born in Peniche to Angolan and Italian parents. Part of the first wave of Portuguese MCs, he was instrumental in building a scene for the music he loved during the 1990s. In 2005 he formed the super-group MadVision, a collective comprising Sam The Kid, KacETO and DJ Link, creating an eponymous album that has gone on to become a bona fide classic in Portugal. Galeano is also a former nationally ranked competitive skateboarder, and nowadays splits his time between making music and working as a stylist for the likes of DJ Craze, David Guetta, Fernando Cabral, and Nélson Freitas to name just a few.
About Batakari:
A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed
Buy / Stream the EP here: https://orcd.co/unselfishdesires
Following comprehensive retrospective collection ‘Nostalgia: Beats of 2008 – 2020’, BBE Music is delighted to share a fresh batch of material from Canadian production powerhouse Beatchild, in the form of his hotly anticipated new EP, ‘Unselfish Desires’.
Unselfish Desires is another perfectly-formed example of the expectedly unexpected sound that has become Beatchild’s signature style, from jazzy, blunted opener ‘Unselfish Desires’ through to 80’s synth-pop inspired, funk-laced closer ‘In My Head’. Scratchy, head-nodding beats combine with original chord progressions and quirky sonic touches, often glued together with the artist’s own mellow vocal tones. A prodigious multi-instrumentalist, Beatchild pays keen attention to the music production process, skillfully combining heterogeneous sounds and beats that combine to lend his music its unique charm.
As for the tracks, let’s have Beatchild, aka Byram Joseph, take us through them one by one:
“One of my personal challenges when creating music that really makes me feel something special is to compose chord progressions that I feel I’ve never heard before. ‘Unselfish Desires’ wrote itself after the Wurlitzer progression was recorded. Everything just fell into place so quickly and naturally. It’s such an incredible feeling when that happens.
‘Adapting’ is a song about false progress. The music is a never ending loop that feels like progression in how it moves from joy to sadness and back again. It’s the perfect paradox musically and I wanted the lyrics to mirror the feeling I got from the music.
Pulling from real life moments has been something I have always shied away from in my writing. I’ve been trying to be more honest and vulnerable and truthfully, I still find it terrifying. In ‘Dance For Love’, I was thinking of when my wife and I force ourselves to dance with each other through difficult moments and exchange our energy when it’s too tense or sad to talk.
‘In My Head’ was pure fun with no specific intention other than to create a feel good experience. My favourite moments when writing music are when I am free to get completely lost in my own head. Songs like this one usually see me jumping around my studio while I compose the lyrics.”
The third volume of Beatchild’s incredible ‘Soul Movement’ album series will be coming on BBE Music soon, but until then, please enjoy this beautifully crafted EP from one of the most unique and dedicated producers out there.
Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’.
Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music.
Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present.
When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al- Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life.
Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’.
Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.
Taken from his award-winning new album Trouble Fête, Badi presents single ‘Me Too’ featuring Kooffeey and Zap Mama, plus a remix by rising Belgian star DJ Blck Mamba.
The global #MeToo movement has impacted all our lives in recent years, heralding winds of change through much-needed and long-overdue questioning. Badi’s writing has not escaped these questions, and it felt important for him to put forward this track as the final single from album Trouble-Fête.
On this Afro-centric track, Badi’s voice is complimented beautifully by Belgian singer Kooffeey and the legendary Zap Mama, while DJ Blck Mamba provides a punchy, dancehall-influenced remix.
The video that accompanies ‘Me Too’ is directed by photographer/videographer Agnes Kena. It highlights women from the Brussels cultural and entrepreneurial scene, all close to Badi’s network: Rokia Bamba (DJ and sound artist), Alix Hammond-Merchant (artist manager), Luna Gillet (sound engineer), Lisette Lombé (poet and visual artist), Anne-Sophie Oudin (producer and artistic director) and Nadine Minampala (consultant and coach-trainer).
Recently receiving the ‘Octave de la Musique’ award in the Urban category, Badi’s album Trouble Fête was created in collaboration with Boddhi Satva and issued on new BBE spinoff label, Batakari. It’s available now on all digital platforms.
Buy or stream the album: https://orcd.co/takeshot
BBE Music welcomes respected UK funk / soul / jazz combo The Fantastics! to the label for ‘Take A Shot featuring Sulene Fleming’, the band’s long awaited third studio album, nine years in the making.
The Fantastics! story begins back in 2003, when keys maestro and Freestyle Records boss Greg Boraman joined London group ‘Reverend Cleatus & The Soul Saviours’. Officially changing their name to The Fantastics! in 2007, in 2009 the ranks were bolstered by the arrival of prodigious UK vocal talent Sulene Fleming in 2009. Only Greg and bassist Raydn Hunter remain from the band’s original line-up, which now features Mark Norton (saxophone / flute) and James Smith (drums). New member James Byron (guitar) brings yet another fresh perspective on the band’s genre-agnostic approach, which takes Afrobeat, Latin, Rock and Rhythm & Blues influences in easy stride.
The band have been honing this album at gigs and in the studio for nine long years, during which time singer Sulene Fleming has been busy collaborating with Incognito and Leroy Hutson, as well as enjoying a stint as lead vocalist for The Brand New Heavies. The approach of constantly testing material in a live setting has endowed this record with an indefinable yet distinctive, authentic feel; put simply, it successfully transmits the energy and immediacy of a great concert.
The range of sounds to be heard on ‘Take A Shot’ is ambitious, but it feels pretty effortless. From the library music tinged spacey jazz-fusion of ‘Oblique’ and ‘Better Than Dead’, 'Hey Misters'’s intense Hammond driven, risqué sister-funk, ‘Pyramid'’s touching & serene modal jazz-dance, ‘Say You Will’ with its shimmering, sweet & summery soul-pop, the Betty Davis-esque ‘Can't Decide’ which is a straight up funk-rock monster, the deceptively slinky West Coast smooth ‘Mind Time’ that takes a sharp left when you least expect it, the woozy and tripped out ‘St Tropez Blue’ - and of course the album’s title track ‘Take A Shot’ - not only display the ensemble’s collective and solo abilities, but also frame Sulene’s powerful and versatile voice in a wonderfully wide election of musical settings.
Special mention goes to Mark Ashfield & his youthful sidekick James Nugent, who not only cheerfully put up with The Fantastics! slow and meandering methods, but also engineered, mixed and mastered this album with truly special levels of detail, warmth and musicality.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Buy / Stream the album here: https://orcd.co/soundcatcherinstrumentals
BBE Music issues instrumental versions from classic DJ Vadim album The Soundcatcher for the first time since its original release in 2007.
All work and no play can be a very dull indeed yet DJ Vadim‘s ‘The Soundcatcher’ isn’t just about hard work. It’s everything you’ve come to expect from the 4 Weetabix a day powerhouse DJ/producer/musical incendiary and so much more: unpredictable with touches of disco and Tubby-esque dub moments, varied with brushes of blues, soul and rap, urban grime bedlam with double-time bounce and ambitious combining so many influences and yet making it feel like they all fit.
Right from the start formality is thrown out the window along with the textbook instructions on How To Be a Hip-Hop DJ. Its quite clear Vadim is intent on the serious business of having a good time more than sticking to any genre. Preconceptions will not be tolerated and the only option is to surrender to his unique vision of outer space soul music. Refreshingly simple but yet somewhat seasoned and developed, The Soundcatcher is about ‘songs’. Less ‘produced’ or ‘complex and abstract’ than some earlier outings, songs flow throughout that would make many a major label A&R exec proud but yet retain an indie rawness and a nod to Vadim’s past that even the most mixtape laden backpackers could feel.
Available on vinyl, CD or digital: https://orcd.co/vinyljunkiethangs Over 2 decades since his last compilation on BBE Music, Jasper The Vinyl Junkie returns to the label with ‘Vinyl Junkie Thangs’ a bumper collection of effortlessly cool, eclectic grooves for heads and feet.
Vinyl collector, DJ and music writer, Jasper The Vinyl Junkie has been with BBE since the very beginning, curating our second ever label release, 1997’s ‘Stop & Listen Vol. II’. It seems only right for him to rejoin us in our 25th year with another stash of funk-filled, jazzy cuts and edits, many of which are almost impossibly hard to find.
“Even all the digital interference hasn’t stopped vinyl being a fantastic way to get your groove on. When I put together compilations like this back in the day, there were just 3 formats: Vinyl, CDs and Cassette Tapes. Now there’s a whole heap of ways to get your favourite tunes: downloads, streaming, youtube etc. etc… Even so, when I put an album together, I always do it with the analogue in mind, so it has a certain feel to it.” – Jasper The Vinyl Junkie.
Featuring sounds from all-time music heroes like Fred Wesley, The Fatback Band and DTrain’s Hubert Eaves alongside lesser known artists like Exile One, Ashantis and Funkshone, Jasper takes ‘Vinyl Junkie Thangs’ above and beyond the norm for this type of collection by also including a smattering of contemporary edits, remixes and new creations. Material by the likes of Basement Freaks, OPOLOPO, Jkriv & Free Magic and Mr Scruff, much of which has never been available on vinyl before, blends in perfectly with the classic material, giving this album extra depth and fresh dimensions.
Buy / Stream the EP here: https://orcd.co/unselfishdesires
Following comprehensive retrospective collection ‘Nostalgia: Beats of 2008 – 2020’, BBE Music is delighted to share a fresh batch of material from Canadian production powerhouse Beatchild, in the form of his hotly anticipated new EP, ‘Unselfish Desires’.
Unselfish Desires is another perfectly-formed example of the expectedly unexpected sound that has become Beatchild’s signature style, from jazzy, blunted opener ‘Unselfish Desires’ through to 80’s synth-pop inspired, funk-laced closer ‘In My Head’. Scratchy, head-nodding beats combine with original chord progressions and quirky sonic touches, often glued together with the artist’s own mellow vocal tones. A prodigious multi-instrumentalist, Beatchild pays keen attention to the music production process, skillfully combining heterogeneous sounds and beats that combine to lend his music its unique charm.
As for the tracks, let’s have Beatchild, aka Byram Joseph, take us through them one by one:
“One of my personal challenges when creating music that really makes me feel something special is to compose chord progressions that I feel I’ve never heard before. ‘Unselfish Desires’ wrote itself after the Wurlitzer progression was recorded. Everything just fell into place so quickly and naturally. It’s such an incredible feeling when that happens.
‘Adapting’ is a song about false progress. The music is a never ending loop that feels like progression in how it moves from joy to sadness and back again. It’s the perfect paradox musically and I wanted the lyrics to mirror the feeling I got from the music.
Pulling from real life moments has been something I have always shied away from in my writing. I’ve been trying to be more honest and vulnerable and truthfully, I still find it terrifying. In ‘Dance For Love’, I was thinking of when my wife and I force ourselves to dance with each other through difficult moments and exchange our energy when it’s too tense or sad to talk.
‘In My Head’ was pure fun with no specific intention other than to create a feel good experience. My favourite moments when writing music are when I am free to get completely lost in my own head. Songs like this one usually see me jumping around my studio while I compose the lyrics.”
The third volume of Beatchild’s incredible ‘Soul Movement’ album series will be coming on BBE Music soon, but until then, please enjoy this beautifully crafted EP from one of the most unique and dedicated producers out there.
Buy / Stream the album here: https://orcd.co/sonatina
Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’.
Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music.
Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present.
When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al- Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life.
Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’.
Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
Buy / Stream it here: https://orcd.co/soundofdetroit1
In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records – The Sound of Detroit – Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint.
With a raft of Strata material now entering entering the BBE Music catalogue for the first time, joining together with already-released gems such at the long-lost Charles Mingus live album ‘Jazz In Detroit’, we asked 180 Proof founder and Strata catalogue curator DJ Amir to compile a selection of tracks as an introduction to the uninitiated.
Over to DJ Amir to tell us more:
I carefully selected my top-choice select tracks that have not been already bootlegged or comp’d in the past; from the well-known fan favourites, to the obscure, to the previously unreleased cuts. This is by no means an exhaustive and comprehensive compilation, but these are the songs that truly represent the catalog and help to tell the story of Strata.
I thought it would be fitting to begin the compilation with one of my all-time favourites from the catalog, ‘Beyond the Dream’ by Kenny Cox, a spiritual groover, highlighted with the haunting mellotron strings and soulful vocals from Detroit legend Ursula Walker. And I absolutely love the ending, with the chanting of “Vamonos Que Ya Fiesta Se Acabo” (“It’s time to go because the party is coming to an end”)!
When I originally issued the previously unreleased album ‘Mirror, Mirror’ by Sam Sanders in 2013, the track ‘Face At My Window’ that features an unknown vocalist instantly became a fan favourite thanks to its hypnotising vocals and mellotron strings.
How could I not include my all-time track from Lyman Woodard, ‘Saturday Night Special’? This track represents the best of that lo-fi jazz funk organ groove and bass combined, again, with those mellotron strings. And after meeting Lyman in 2008, I became even more of a fan! His magnum opus that is ‘Saturday Night Special’ began my journey to re-introducing the world to the Strata label.
After a chance discovery of a Strata master with only the letters ‘TJ’ written on the front, I took a chance and digitally transferred the master. Unfortunately, the master was in awful shape, but what I discovered was truly a stunning recording! At first, I thought I was listening to a young Shuggie Otis but then I quickly realised that I was not. TJ, armed with a basic drum machine, guitar, and incredibly infectious vocals, was able to communicate the pain and joy in his soul so clearly in tracks like ‘Time Is Wasting’.
With further tracks from Kenny Cox featuring the Contemporary Jazz Quintet (CJQ), Larry Nozero (saxophone player on ‘What’s Goin’ On’ by Marvin Gaye), to the ever-elusive and spiritual deep Maulawi Nururidin, to a few previously unreleased gems from Ursula Walker, Mixed Bag, and the Soulmates, hopefully, you’ll be inspired to dive deeper into the Strata catalog!
Enjoy!
Amir Abdullah aka DJ Amir
All of the original albums from which these tracks were chosen are now available to download or stream wherever you find your music.
Lendas ft. Papillon is the second single from Portuguese rapper Tekilla’s forthcoming album ‘Olhos de Vidro’, released on BBE Music sister label Batakari. Described by Tekilla as “an ego trip between two generations, which intersect and innovate”, Lendas features a guest appearance from young hotshot Papillon, a prominent voice in a new generation of rappers in Portugal, hungry and fearless.
“I admire his humility, way of being, the commitment you can feel in this track, proving that he will greatly honour the next generation of good rappers who still support and value this culture” say Tekilla. Fred Ferreira (Orelha Negra, Buraka Som Sistema) produced the track in a rough, dirty, banger street style, bridging the gap between old and new school, inviting the ensuing, exchange of words, punchlines, styles and flows.
Tekilla’s album ‘Olhos de Vidro’ is due for release on Batakari Music, June 26th 2021.
DJ Amir presents an exclusive DJ Mix to celebrate the release of ‘Strata Records The Sound of Detroit’ Volume 1.
Buy or stream the album: https://orcd.co/soundofdetroit1
Tracklist: 1. Stanley Cowell-Equipoise-Strata-East Records 2. NTU & Gary Bartz-Singerella-Fantsay Records 3. Kelelee Patterson-Maiden Voyage-Black Jazz Records 4. Eddie Russ-Take A Look At Yourself-Monument Records 5. Maulawi-Root in 7-4 Plus-Strata Records/180 Proof Records 6. Stanley Cowell-Trying To Find A Way-Strata-East Records 7. Kenny Cox-Clap Clap! The Joyful Noise-Strata Records/180 Proof Records 8. CJQ-Nguzo Saba-Strata Records/180 Proof Records 9. Max Roach featuring Abby Lincoln-Garvey’s Ghost-Impulse Records 10. Calvin Keys-B.K.-Black Jazz Records 11. Larry Nozero-Tune L.N.-Strata Records/180 Proof Records 12. Maulawi-Unknown Track-Strata Records/180 Proof Records 13. Bert Myrick-Scorpio’s Child-Strata Records/180 Proof Records
Pre-order / pre-save the album: https://orcd.co/vinyljunkiethangs
Over 2 decades since his last compilation on BBE Music, Jasper The Vinyl Junkie returns to the label with ‘Vinyl Junkie Thangs’ a bumper collection of effortlessly cool, eclectic grooves for heads and feet.
Vinyl collector, DJ and music writer, Jasper The Vinyl Junkie has been with BBE since the very beginning, curating our second ever label release, 1997’s ‘Stop & Listen Vol. II’. It seems only right for him to rejoin us in our 25th year with another stash of funk-filled, jazzy cuts and edits, many of which are almost impossibly hard to find.
“Even all the digital interference hasn’t stopped vinyl being a fantastic way to get your groove on. When I put together compilations like this back in the day, there were just 3 formats: Vinyl, CDs and Cassette Tapes. Now there’s a whole heap of ways to get your favourite tunes: downloads, streaming, youtube etc. etc… Even so, when I put an album together, I always do it with the analogue in mind, so it has a certain feel to it.” – Jasper The Vinyl Junkie.
Featuring sounds from all-time music heroes like Fred Wesley, The Fatback Band and DTrain’s Hubert Eaves alongside lesser known artists like Exile One, Ashantis and Funkshone, Jasper takes ‘Vinyl Junkie Thangs’ above and beyond the norm for this type of collection by also including a smattering of contemporary edits, remixes and new creations. Material by the likes of Basement Freaks, OPOLOPO, Jkriv & Free Magic and Mr Scruff, much of which has never been available on vinyl before, blends in perfectly with the classic material, giving this album extra depth and fresh dimensions.
BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie.
Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core.
Modern Love offers a fresh look at Bowie’s trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. “I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.”
Modern Love is an interactive sonic map. Here, seventeen artists make their way into the varied regions of his sundry catalog and circle back with seventeen unique re-imaginings of both his cornerstone and lesser-known tracks. Some, in atmosphere, feel like a sly alternate take from original sessions (Khruangbin’s ethereal, funk infused version of “Right” from Young Americans); others nod at the source, then wink before diving into the deep waters of another musical stratosphere (Sessa’s sexy Tropicalia-drenched “Panic in Detroit” from Aladdin Sane). Still others take tunes down to the studs and then re-arrange the moody interiors: Meshell Ndegeocello’s pensive “Fantastic Voyage” from Lodger and Tavares’ clever take on “Heroes” which is restructured into a kinetic hardbop-esque backdrop, fronted by ice-cool, held-back vocals. The bullseye these artists aim for is Bowie’s fearlessness. “Fame was an incredible bluff that worked,” he once reflected. “Very flattering. I’ll do anything until I fail. And when I succeed I quit too.”
Modern Love packs us off on a journey that balances on risk’s sharp blade. Track-to-track, it explores what happens when a musician throws out notions of should and safe and stretches beyond the known. These artists use Bowie both as a guide and a prism: A way of being and seeing. Their offerings, widely divergent, explore the inheritance from an artist who freed himself from labels, genres and, consequently, pigeonholes. While he was at it, he decimated fixed notions about territory (or terra) itself; boundaries hemmed-in his creative process, but his essence remained free to roam. He may have vanished in earthly form, yet, as he also promised in the lyrics of “Modern Love,” But I never wave bye-bye . . .” This compilation assures us that his spirit swirls around us. His force is alive to all of us and, here, it is summoned with an incantation that celebrates possibility.
Buy / Stream the album: https://orcd.co/soundofdetroit1
In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records – The Sound of Detroit – Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint.
With a raft of Strata material now entering entering the BBE Music catalogue for the first time, joining together with already-released gems such at the long-lost Charles Mingus live album ‘Jazz In Detroit’, we asked 180 Proof founder and Strata catalogue curator DJ Amir to compile a selection of tracks as an introduction to the uninitiated.
Over to DJ Amir to tell us more:
I carefully selected my top-choice select tracks that have not been already bootlegged or comp’d in the past; from the well-known fan favourites, to the obscure, to the previously unreleased cuts. This is by no means an exhaustive and comprehensive compilation, but these are the songs that truly represent the catalog and help to tell the story of Strata.
I thought it would be fitting to begin the compilation with one of my all-time favourites from the catalog, ‘Beyond the Dream’ by Kenny Cox, a spiritual groover, highlighted with the haunting mellotron strings and soulful vocals from Detroit legend Ursula Walker. And I absolutely love the ending, with the chanting of “Vamonos Que Ya Fiesta Se Acabo” (“It’s time to go because the party is coming to an end”)!
When I originally issued the previously unreleased album ‘Mirror, Mirror’ by Sam Sanders in 2013, the track ‘Face At My Window’ that features an unknown vocalist instantly became a fan favourite thanks to its hypnotising vocals and mellotron strings.
How could I not include my all-time track from Lyman Woodard, ‘Saturday Night Special’? This track represents the best of that lo-fi jazz funk organ groove and bass combined, again, with those mellotron strings. And after meeting Lyman in 2008, I became even more of a fan! His magnum opus that is ‘Saturday Night Special’ began my journey to re-introducing the world to the Strata label.
After a chance discovery of a Strata master with only the letters ‘TJ’ written on the front, I took a chance and digitally transferred the master. Unfortunately, the master was in awful shape, but what I discovered was truly a stunning recording! At first, I thought I was listening to a young Shuggie Otis but then I quickly realised that I was not. TJ, armed with a basic drum machine, guitar, and incredibly infectious vocals, was able to communicate the pain and joy in his soul so clearly in tracks like ‘Time Is Wasting’.
With further tracks from Kenny Cox featuring the Contemporary Jazz Quintet (CJQ), Larry Nozero (saxophone player on ‘What’s Goin’ On’ by Marvin Gaye), to the ever-elusive and spiritual deep Maulawi Nururidin, to a few previously unreleased gems from Ursula Walker, Mixed Bag, and the Soulmates, hopefully, you’ll be inspired to dive deeper into the Strata catalog!
Enjoy!
Amir Abdullah aka DJ Amir
All of the original albums from which these tracks were chosen are now available to download or stream wherever you find your music.
Release Date – May 25th 2021
Seven years after their last ‘Americana‘ compilation for BBE Music, The Mighty Zaf and Mark GV Taylor present two more rare blue eyed soul cuts from across the pond: ‘So Close To You’ by Arthur, and ‘Reincarnation’ by Future Force.
Taken from his first and only solo album, 1981’s ‘Joy’, ‘So Close To You’ is a sweet, folk- tinged song written by Arthur’s guitarist Dean Devener and voiced by Maye Cavallaro. Hailing from New York, a diamond dealer by day and a bassist by night, Arthur joined his first band in ’66. He was living in the tiny community of Inverness, just North of San Francisco when he recorded ‘So Close To You’, which featured mainly local musicians from the West Marin area. “Between around 1980 and 2010, if someone told me I’d see any interest let alone money from my album, I’d have thought they were hallucinating” says Arthur. In 2010, the DJ son of a friend of Arthur’s saw an original copy of ‘Joy’ hanging on the wall of A-1 records in New York, priced at $50. Soon afterwards, compiler Mark Taylor tracked Arthur down on Facebook and the pair met in London, where by happy coincidence Arthur had a brief flight stopover. “We met Mark in a coffee place just outside security and sold him the box of records. I thought he looked like a cop, not a jazz DJ, although if you think 1950s America, the two could look the same”. Arthur returned to London in May 2019 and attended Mark’s ‘Reference Point’ party at the BBE Store, delighted to sign copies of his original ‘Joy’ LP for the regulars, and ecstatic to hear ‘So Close To You’ played in public for the first time.
‘Reincarnation’ was originally the B-side of NYC pop / funk band Future Force’s only recording, a 7″ single released in 1981. Future Force was formed by brothers David and Howard Bowler, who went on to write and produce dance cuts for A&M with the band’s keyboardist Eric Li, including the hit song ‘Sayin’ Sorry Don’t Make It Right’ by Denise Lopez. Recorded live with only the lead vocals overdubbed, ‘Reincarnation’ captures the raw, soulful sound for which Future Force shows had gained notoriety, both in New York City and beyond. The song was written by guitarist Jehri Riley and performed by lead singer Jackie Stewart, who was born in Brixton to Jamaican parents, moving to NYC at the age of 13.
About the compilers:
The Mighty Zaf began his journey at the famous London store Reckless Records, before becoming a respected private record dealer. These days you can find him behind the counter at Love Vinyl in London, the store he co-owns with BBE’s graphic designer Jake Holloway. Mark GV Taylor began collecting records as a schoolboy, started DJing internationally in 1990 and hasn’t looked back since. He’s also a former contributor for Straight No Chaser and compiler for Blue Note Records.
Seven years after their last ‘Americana‘ compilation for BBE Music, The Mighty Zaf and Mark GV Taylor present two more rare blue eyed soul cuts from across the pond: ‘So Close To You’ by Arthur, and ‘Reincarnation’ by Future Force.
Taken from his first and only solo album, 1981’s ‘Joy’, ‘So Close To You’ is a sweet, folk- tinged song written by Arthur’s guitarist Dean Devener and voiced by Maye Cavallaro. Hailing from New York, a diamond dealer by day and a bassist by night, Arthur joined his first band in ’66. He was living in the tiny community of Inverness, just North of San Francisco when he recorded ‘So Close To You’, which featured mainly local musicians from the West Marin area. “Between around 1980 and 2010, if someone told me I’d see any interest let alone money from my album, I’d have thought they were hallucinating” says Arthur. In 2010, the DJ son of a friend of Arthur’s saw an original copy of ‘Joy’ hanging on the wall of A-1 records in New York, priced at $50. Soon afterwards, compiler Mark Taylor tracked Arthur down on Facebook and the pair met in London, where by happy coincidence Arthur had a brief flight stopover. “We met Mark in a coffee place just outside security and sold him the box of records. I thought he looked like a cop, not a jazz DJ, although if you think 1950s America, the two could look the same”. Arthur returned to London in May 2019 and attended Mark’s ‘Reference Point’ party at the BBE Store, delighted to sign copies of his original ‘Joy’ LP for the regulars, and ecstatic to hear ‘So Close To You’ played in public for the first time.
‘Reincarnation’ was originally the B-side of NYC pop / funk band Future Force’s only recording, a 7″ single released in 1981. Future Force was formed by brothers David and Howard Bowler, who went on to write and produce dance cuts for A&M with the band’s keyboardist Eric Li, including the hit song ‘Sayin’ Sorry Don’t Make It Right’ by Denise Lopez. Recorded live with only the lead vocals overdubbed, ‘Reincarnation’ captures the raw, soulful sound for which Future Force shows had gained notoriety, both in New York City and beyond. The song was written by guitarist Jehri Riley and performed by lead singer Jackie Stewart, who was born in Brixton to Jamaican parents, moving to NYC at the age of 13.
About the compilers:
The Mighty Zaf began his journey at the famous London store Reckless Records, before becoming a respected private record dealer. These days you can find him behind the counter at Love Vinyl in London, the store he co-owns with BBE’s graphic designer Jake Holloway. Mark GV Taylor began collecting records as a schoolboy, started DJing internationally in 1990 and hasn’t looked back since. He’s also a former contributor for Straight No Chaser and compiler for Blue Note Records.
MF Robots unleash the third salvo from upcoming BBE Music album ‘Break The Wall’, a feelgood mid-tempo funk bubbler entitled ‘Good People’.
Underpinned by Jan’s unmistakable rock-solid rhythm section and topped off with Dawn’s life-affirming lyrics, ‘Good People’ delivers yet another tough groove, brought to life by some of the UK’s tightest musicians.
Following up their latest single ‘Good People’ on BBE Music, MF Robots unveil an extended version of the track accompanied by an up-tempo remix by MontaQue Adamson and a brand new ‘Bossy Nova’ version of ‘Mother Funkin’ Robots’ by Jan Kincaid.
Emerging London production duo MontaQue Adamson have both played with MF Robots since their first gig at The Bussey Building and helped write the band’s upcoming album ‘Break The Wall’. Both Alex Montaque (keys) and Naz Adamson (bass) have been staples in the UK music scene for the past 15 years, working with world-renowned artists both on stage and in the studio. Their remix of ‘Good People’ takes the laid back original and sends it into overdrive, with a funky-house interpretation.
Making the most of Dawn Joseph’s powerhouse vocal, Jan Kincaid’s ‘Bossy Nova Refit’ of previous single ‘Mother Funkin’ Robots’ injects an enticing Latin vibe into the cut, with a delightfully old-school synth line providing some light hearted interplay with that superb brass section. Says Jan: “it was a challenge to remix this tune and give it a different personality. I wanted it to be a fun late night, the last few dancers left in the place type of thing.” An extended of ‘Good People’ is also included in the package, alongside instrumental versions of all three tracks.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
Available on vinyl, CD and digital formats: https://orcd.co/carlsmithburnin
Originally released in 1980 on short-lived Oregon label ‘Match Box Recordings’, ‘Burnin’’ is the only album recorded by Portland jazz/funk band Carl Smith And The Natural Gas Company.
At the time of the release of this album, Carl Smith’s band had already been performing for almost two decades, starting out as the ‘Carl Smith Orchestra’ in 1959, fusing 40s and 50s big band styles with rock’n’roll, before gradually morphing into the more compact jazz / funk influenced outfit you can hear on Burnin’.
“Carl had this bright red delivery van he bought from the natural gas company. He got a hold of that thing and that’s how we went on the road. When we’d roll up to the gig they’d see this big van full of musicians and on the outside it said “Natural Gas Co.” Then out comes Carl Smith and it’s all over.” – Lee Bradford (trumpet, flugelhorn)
The orchestra that Carl Smith founded was a Portland institution for about 50 years all-told, becoming an essential training ground for young musicians on the come-up; even the later Grammy-award winning trumpeter Chris Botti passed through at the age of 17 and Jefferson Airplane’s Signe Anderson was a long-time collaborator. It was “hard to find many jazz players around here who haven’t played with the band” said Smith in a 1980 interview with The Oregonian. They performed at festivals, universities, nightclubs, dance studios and even military bases from Portland to Seattle and everywhere in between, opening for Dave Brubeck, Buddy Miles and Johnny Ray among many others.
The story of this album’s recording has gone down in infamy among the remaining band members and Carl Smith’s daughter Carlee (who performed lead vocals on ‘Love Won’t Let Me Go’), all of whom recall a fraught, rushed recording process, led by a producer who had no musical experience and was nothing more than a puppet for the somewhat shady label owners. This led to the album being cut too fast and accidentally pitched up a key, so if you want to hear it as the band intended, pull the pitch control down a little on your turntable.
“Turns out the whole thing was backed by a bunch of farmers from central Oregon who were looking to take a loss… So here we were playing out and selling records. As soon as we were about to hit one thousand copies sold, their plan was to stop promotion so it would die…but we didn’t know that.” – Peter Piazza (trombone, electric violin, euphonium)
Upon its release, the album received airplay on several radio stations across Oregon and Washington, the band were invited to play live on local TV channel KGW, and copies sold out quickly within the local area. Despite the bitter-sweet circumstances around the record, Burnin’ remains a fantastic document of this well-drilled and talented group of players, showcasing original funk, jazz and soul compositions mostly arranged by Larry Dunlap, who went on to become musical director for the Pointer Sisters and write for Cleo Laine during a long and fruitful career in music.
The original label’s intentional sabotage of Burnin’ has made it a rare and sought-after album for vinyl collectors the World over, so we are delighted to reissue it for the first time ever, complete with its original artwork, accompanied by liner notes providing a detailed oral history of the band, as told by several of its original members.
Pre-order the album / stream the track: https://orcd.co/rudemovementsrmx
Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now. Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is, anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O’Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.
MF Robots unleash the third salvo from upcoming BBE Music album ‘Break The Wall’, a feelgood mid-tempo funk bubbler entitled ‘Good People’.
Underpinned by Jan’s unmistakable rock-solid rhythm section and topped off with Dawn’s life-affirming lyrics, ‘Good People’ delivers yet another tough groove, brought to life by some of the UK’s tightest musicians.
Following up their latest single ‘Good People’ on BBE Music, MF Robots unveil an extended version of the track accompanied by an up-tempo remix by MontaQue Adamson and a brand new ‘Bossy Nova’ version of ‘Mother Funkin’ Robots’ by Jan Kincaid.
Emerging London production duo MontaQue Adamson have both played with MF Robots since their first gig at The Bussey Building and helped write the band’s upcoming album ‘Break The Wall’. Both Alex Montaque (keys) and Naz Adamson (bass) have been staples in the UK music scene for the past 15 years, working with world-renowned artists both on stage and in the studio. Their remix of ‘Good People’ takes the laid back original and sends it into overdrive, with a funky-house interpretation.
Making the most of Dawn Joseph’s powerhouse vocal, Jan Kincaid’s ‘Bossy Nova Refit’ of previous single ‘Mother Funkin’ Robots’ injects an enticing Latin vibe into the cut, with a delightfully old-school synth line providing some light hearted interplay with that superb brass section. Says Jan: “it was a challenge to remix this tune and give it a different personality. I wanted it to be a fun late night, the last few dancers left in the place type of thing.” An extended of ‘Good People’ is also included in the package, alongside instrumental versions of all three tracks.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
Buy / Stream the album: https://orcd.co/luckyman
In association with IF Music, BBE Music presents ‘Lucky Man’: music from the eponymous documentary film, charting jazz violinist and Vietnam veteran Billy Bang’s brave return to the country, 40 years after the War.
The film ‘Lucky Man’ by Jean-Marie Boulet & Markus Hansen follows Billy Bang as he returns to the battlefields of his past, this time with a violin in-hand instead of a rifle. The documentary follows Billy as he travels the length and breadth of Vietnam to collaborate with local musicians, discover the culture he never got to experience the first time around, and to try to find some closure for the haunting trauma that still lingers within.
The trip took place in 2008, three years before Billy Bang’s passing and these never-before released field recordings, lovingly polished at The Carvery studio in London, capture the musician’s many poignant musical encounters along the way. The journey took him from Ho Chi Minh City and the Mekong Delta, through to the highlands and the Banhar and Jorai gongs of the Montagnards, north across the 17th parallel, climaxing with ‘Mystery of the Mekong’, his collaboration with the Hanoi Symphony Orchestra.
The album ‘Lucky Man’ is composed of recordings captured throughout Billy Bang’s travels in Vietnam, interspersed with his candid thoughts about music, art, war, and his return to the country. Trần Mạnh Tuấn, the saxophonist featured on ‘Jungle Lullaby’ is well known in Saigon, where he owns a club called Sax n’Art, in which the live collaboration was recorded. In the more rural Kon Tum province, The Banhar Gong Group of Kuntum perform one of their traditional pieces, over which Billy’s off-the-cuff improvisation simply soars. The Phu Dong Family Band (a collective comprising an incredible 25 members of leader Duc Dau’s family) appears on ‘New Saigon Phunk’ and ‘Song for Don Cherry’, recorded in their native Ho Chi Minh City. Duc Dau is also a collector of ancient traditional instruments, and he plays a primitive stone Lithophone called a Dan Da with Billy in an energetic and exciting live jam that feels more like a duel at points.
Buy the album here: https://orcd.co/teenamarie
Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’.
“Teena is somewhat underrated, and people don’t really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don’t really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.”
John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age.
Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album ‘Starchild’). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’.
Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in “The Brockert Initiative”, which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.
The final single before the hotly anticipated release of BBE Music’s David Bowie tribute album ‘Modern Love’, Jeff Parker and The New Breed present a unique take on ‘Soul Love’.
Originally recorded in 1971 and released the following year on classic album ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars’, the original version of ‘Soul Love’ was notable for its poignant lyrics exploring love and death, and its saxophone solo performed by Bowie himself.
Alongside key members of his ‘New Breed’ project Jay Bellerose (drums) and Ruby Parker (vocals), Jeff Parker turns in a wistful and melancholic rendition of ‘Soul Love’ with haunting, extended chords coupled to the angular, idiosyncratic brilliance of Jeff’s guitar and synth work.
Says Parker: “Bowie’s career went through a lot of different phases because he was always looking forward and trying new things. Above all, he was an artist and an innovator. I was attracted to the eccentricity of “Soul Love” as soon as I heard it; Ruby and I were channeling the muse of Bowie when we tackled our rendition of it, trying to stay with his experimental, but accessible, spirit.”
Released on May 28th 2021, ‘Modern Love, A David Bowie Tribute Album’ also features Miguel Atwood-Ferguson, Kit Sebastian, The Hics, Sessa, Helado Negro, Khruangbin, Nia Andrews, Foxtrott, L’Rain, Eddie Chacon & John Carroll Kirby, Jonah Mutono, Bullion, Meshell Ndegeocello, Matthew Tavares and We Are KING.
Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’.
Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music.
Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present.
When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al- Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life.
Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’.
Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.
Tracklist 1. Sonatina For Maria 2. Alida's Theme 3. Girl Friend 4. Dindolo 5. Mishwar (Picnic) 6. Streets of Beirut 7. Theme From The Film (Almakhtouf) 8. Gipsy Nights
Buy / Stream: https://orcd.co/soundofdetroit1
In association with DJ Amir and 180 Proof Records, BBE Music presents ‘Strata Records – The Sound of Detroit – Volume 1’, a new compilation taking in just a few highlights from the short-lived but hugely influential jazz imprint.
With a raft of Strata material now entering entering the BBE Music catalogue for the first time, joining together with already-released gems such at the long-lost Charles Mingus live album ‘Jazz In Detroit’, we asked 180 Proof founder and Strata catalogue curator DJ Amir to compile a selection of tracks as an introduction to the uninitiated.
Over to DJ Amir to tell us more:
I carefully selected my top-choice select tracks that have not been already bootlegged or comp’d in the past; from the well-known fan favourites, to the obscure, to the previously unreleased cuts. This is by no means an exhaustive and comprehensive compilation, but these are the songs that truly represent the catalog and help to tell the story of Strata.
I thought it would be fitting to begin the compilation with one of my all-time favourites from the catalog, ‘Beyond the Dream’ by Kenny Cox, a spiritual groover, highlighted with the haunting mellotron strings and soulful vocals from Detroit legend Ursula Walker. And I absolutely love the ending, with the chanting of “Vamonos Que Ya Fiesta Se Acabo” (“It’s time to go because the party is coming to an end”)!
When I originally issued the previously unreleased album ‘Mirror, Mirror’ by Sam Sanders in 2013, the track ‘Face At My Window’ that features an unknown vocalist instantly became a fan favourite thanks to its hypnotising vocals and mellotron strings.
How could I not include my all-time track from Lyman Woodard, ‘Saturday Night Special’? This track represents the best of that lo-fi jazz funk organ groove and bass combined, again, with those mellotron strings. And after meeting Lyman in 2008, I became even more of a fan! His magnum opus that is ‘Saturday Night Special’ began my journey to re-introducing the world to the Strata label.
After a chance discovery of a Strata master with only the letters ‘TJ’ written on the front, I took a chance and digitally transferred the master. Unfortunately, the master was in awful shape, but what I discovered was truly a stunning recording! At first, I thought I was listening to a young Shuggie Otis but then I quickly realised that I was not. TJ, armed with a basic drum machine, guitar, and incredibly infectious vocals, was able to communicate the pain and joy in his soul so clearly in tracks like ‘Time Is Wasting’.
With further tracks from Kenny Cox featuring the Contemporary Jazz Quintet (CJQ), Larry Nozero (saxophone player on ‘What’s Goin’ On’ by Marvin Gaye), to the ever-elusive and spiritual deep Maulawi Nururidin, to a few previously unreleased gems from Ursula Walker, Mixed Bag, and the Soulmates, hopefully, you’ll be inspired to dive deeper into the Strata catalog!
Enjoy!
Amir Abdullah aka DJ Amir
All of the original albums from which these tracks were chosen are now available to download or stream wherever you find your music.
Pre-order / Stream the album: https://orcd.co/kohsukeminefirst
BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines.
Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players – bassist Larry Ridley and drummer Lenny McBrowne – to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album.
‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Format – Double Vinyl / CD / Digital Release Date – April 30, 2021
MF Robots unleash the third salvo from upcoming BBE Music album ‘Break The Wall’, a feelgood mid-tempo funk bubbler entitled ‘Good People’.
Underpinned by Jan’s unmistakable rock-solid rhythm section and topped off with Dawn’s life-affirming lyrics, ‘Good People’ delivers yet another tough groove, brought to life by some of the UK’s tightest musicians.
Following up their latest single ‘Good People’ on BBE Music, MF Robots unveil an extended version of the track accompanied by an up-tempo remix by MontaQue Adamson and a brand new ‘Bossy Nova’ version of ‘Mother Funkin’ Robots’ by Jan Kincaid.
Emerging London production duo MontaQue Adamson have both played with MF Robots since their first gig at The Bussey Building and helped write the band’s upcoming album ‘Break The Wall’. Both Alex Montaque (keys) and Naz Adamson (bass) have been staples in the UK music scene for the past 15 years, working with world-renowned artists both on stage and in the studio. Their remix of ‘Good People’ takes the laid back original and sends it into overdrive, with a funky-house interpretation.
Making the most of Dawn Joseph’s powerhouse vocal, Jan Kincaid’s ‘Bossy Nova Refit’ of previous single ‘Mother Funkin’ Robots’ injects an enticing Latin vibe into the cut, with a delightfully old-school synth line providing some light hearted interplay with that superb brass section. Says Jan: “it was a challenge to remix this tune and give it a different personality. I wanted it to be a fun late night, the last few dancers left in the place type of thing.” An extended of ‘Good People’ is also included in the package, alongside instrumental versions of all three tracks.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
Originally released in 1980 on short-lived Oregon label ‘Match Box Recordings’, ‘Burnin’’ is the only album recorded by Portland jazz/funk band Carl Smith And The Natural Gas Company.
At the time of the release of this album, Carl Smith’s band had already been performing for almost two decades, starting out as the ‘Carl Smith Orchestra’ in 1959, fusing 40s and 50s big band styles with rock’n’roll, before gradually morphing into the more compact jazz / funk influenced outfit you can hear on Burnin’.
“Carl had this bright red delivery van he bought from the natural gas company. He got a hold of that thing and that’s how we went on the road. When we’d roll up to the gig they’d see this big van full of musicians and on the outside it said “Natural Gas Co.” Then out comes Carl Smith and it’s all over.” – Lee Bradford (trumpet, flugelhorn)
The orchestra that Carl Smith founded was a Portland institution for about 50 years all-told, becoming an essential training ground for young musicians on the come-up; even the later Grammy-award winning trumpeter Chris Botti passed through at the age of 17 and Jefferson Airplane’s Signe Anderson was a long-time collaborator. It was “hard to find many jazz players around here who haven’t played with the band” said Smith in a 1980 interview with The Oregonian. They performed at festivals, universities, nightclubs, dance studios and even military bases from Portland to Seattle and everywhere in between, opening for Dave Brubeck, Buddy Miles and Johnny Ray among many others.
The story of this album’s recording has gone down in infamy among the remaining band members and Carl Smith’s daughter Carlee (who performed lead vocals on ‘Love Won’t Let Me Go’), all of whom recall a fraught, rushed recording process, led by a producer who had no musical experience and was nothing more than a puppet for the somewhat shady label owners. This led to the album being cut too fast and accidentally pitched up a key, so if you want to hear it as the band intended, pull the pitch control down a little on your turntable.
“Turns out the whole thing was backed by a bunch of farmers from central Oregon who were looking to take a loss… So here we were playing out and selling records. As soon as we were about to hit one thousand copies sold, their plan was to stop promotion so it would die…but we didn’t know that.” – Peter Piazza (trombone, electric violin, euphonium)
Upon its release, the album received airplay on several radio stations across Oregon and Washington, the band were invited to play live on local TV channel KGW, and copies sold out quickly within the local area. Despite the bitter-sweet circumstances around the record, Burnin’ remains a fantastic document of this well-drilled and talented group of players, showcasing original funk, jazz and soul compositions mostly arranged by Larry Dunlap, who went on to become musical director for the Pointer Sisters and write for Cleo Laine during a long and fruitful career in music.
The original label’s intentional sabotage of Burnin’ has made it a rare and sought-after album for vinyl collectors the World over, so we are delighted to reissue it for the first time ever, complete with its original artwork, accompanied by liner notes providing a detailed oral history of the band, as told by several of its original members. credits
Preorder the album here - https://orcd.co/luckyman
In association with IF Music, BBE Music presents ‘Lucky Man’: music from the eponymous documentary film, charting jazz violinist and Vietnam veteran Billy Bang’s brave return to the country, 40 years after the War.
The film ‘Lucky Man’ by Jean-Marie Boulet & Markus Hansen follows Billy Bang as he returns to the battlefields of his past, this time with a violin in-hand instead of a rifle. The documentary follows Billy as he travels the length and breadth of Vietnam to collaborate with local musicians, discover the culture he never got to experience the first time around, and to try to find some closure for the haunting trauma that still lingers within.
The trip took place in 2008, three years before Billy Bang’s passing and these never-before released field recordings, lovingly polished at The Carvery studio in London, capture the musician’s many poignant musical encounters along the way. The journey took him from Ho Chi Minh City and the Mekong Delta, through to the highlands and the Banhar and Jorai gongs of the Montagnards, north across the 17th parallel, climaxing with ‘Mystery of the Mekong’, his collaboration with the Hanoi Symphony Orchestra.
The album ‘Lucky Man’ is composed of recordings captured throughout Billy Bang’s travels in Vietnam, interspersed with his candid thoughts about music, art, war, and his return to the country. Trần Mạnh Tuấn, the saxophonist featured on ‘Jungle Lullaby’ is well known in Saigon, where he owns a club called Sax n’Art, in which the live collaboration was recorded. In the more rural Kon Tum province, The Banhar Gong Group of Kuntum perform one of their traditional pieces, over which Billy’s off-the-cuff improvisation simply soars. The Phu Dong Family Band (a collective comprising an incredible 25 members of leader Duc Dau’s family) appears on ‘New Saigon Phunk’ and ‘Song for Don Cherry’, recorded in their native Ho Chi Minh City. Duc Dau is also a collector of ancient traditional instruments, and he plays a primitive stone Lithophone called a Dan Da with Billy in an energetic and exciting live jam that feels more like a duel at points.
“Bang was a genuine original, whose radicalism of method was always balanced by a powerful lyrical sense, a driving inner beat and the earthiness of the blues.” – The Guardian
Born in 1947, Billy Bang was only 18 years old when he was drafted and shipped out to Vietnam. He served only one tour of duty, but his traumatic experiences there would haunt him for the rest of his life. Small in stature, Bang became a ‘tunnel rat’, searching for North Vietnamese soldiers in booby-trapped tunnels with only a flashlight and a .45 pistol. On his return to the USA, Billy felt lost, haunted and stateless. He fell into revolutionary politics, alcohol and drugs, and on a trip to a pawnshop to purchase guns, chose to pick up up a $25 violin instead.
Having played violin, drums and flute before the War, Billy Bang found music to be a perfect medium through which to channel his emotions and trauma, initially under the mentorship of early free-jazz exponent Leroy Jenkins. Bang soon became a fixture in New York’s fertile ‘loft jazz’ scene, and went on to perform with the Sun Ra Arkestra in the 1980s.
A prolific composer, recording artist and sideman, Billy Bang started to address his Vietnam memories more directly with his music on 2001’s critically acclaimed album ‘Vietnam, The Aftermath’, which also featured fellow veteran Ted Daniel. The 2005 follow-up ‘Vietnam: Reflections’ featured four American Vietnam war veterans and two Vietnamese musicians. This project, ‘Lucky Man’, completes Billy Bang’s trilogy of Vietnam-themed works with a courageous solo voyage into the unknown; embarking on a new creative challenge while confronting a past he could never quite get over.
Released on BBE Music’s new sister label Batakari, ‘90’s’ is the first single taken from Portuguese rapper Tekilla’s upcoming fourth studio album, ‘Olhos de Vidro’.
Produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar), ‘90’s’ sees Tekilla reminisce about the decade in which hip-hop began to make noise in Portugal. As part of the first wave of MCs in the country, Tekilla was highly instrumental in building the scene, both as a solo artist and as part of super-group MadVision.
“I embarked on a journey, looking for the essence of the hip-hop that I grew up listening to, with nostalgic, aggressive, raw beats, stripping away the music of prejudices and manias, creating my own vision of the 90’s in 2021! In this track I pay tribute to all those who I grew with in this movement, to those who sowed their seeds before me, and even today keep doing it. For those who raise the bar at their art, keep pushing the boundaries, and provide the right music and the right messages for those who care. It is also my cry against all those who, over the years, have not yet realised that Art is not a 100m race, but a marathon. It is our legacy. It is what will remain. Integrity and truth are all that matters. 90’s was the first track I recorded for this new album, and it all starts here.” says Tekilla.
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
Released on BBE Music’s new sister label Batakari, ‘90’s’ is the first single taken from Portuguese rapper Tekilla’s upcoming fourth studio album, ‘Olhos de Vidro’.
Produced by Fred Ferreira (Orelha Negra, Buraka Som Sistema, Banda do Mar), ‘90’s’ sees Tekilla reminisce about the decade in which hip-hop began to make noise in Portugal. As part of the first wave of MCs in the country, Tekilla was highly instrumental in building the scene, both as a solo artist and as part of super-group MadVision.
“I embarked on a journey, looking for the essence of the hip-hop that I grew up listening to, with nostalgic, aggressive, raw beats, stripping away the music of prejudices and manias, creating my own vision of the 90’s in 2021! In this track I pay tribute to all those who I grew with in this movement, to those who sowed their seeds before me, and even today keep doing it. For those who raise the bar at their art, keep pushing the boundaries, and provide the right music and the right messages for those who care. It is also my cry against all those who, over the years, have not yet realised that Art is not a 100m race, but a marathon. It is our legacy. It is what will remain. Integrity and truth are all that matters. 90’s was the first track I recorded for this new album, and it all starts here.” says Tekilla.
About Batakari: A new collaborative venture from Boddhi Satva and BBE Music founder Peter Adarkwah, the Batakari Music label launched in 2020, committed to delivering deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
Buy / Stream it here: https://orcd.co/tmwstw
BBE Music announces the third single taken from upcoming David Bowie tribute album ‘Modern Love’, an understated electronic version of ‘The Man Who Sold The World’, recorded by London duo The Hics.
Comprising Sam Paul Evans and Rox Barker, the Hics combine elements of melodic jazz soul and folk styles into their distinctive, ever evolving electronic fusion sound, which saw them nominated in the Best Breakthrough Act category at Gilles Peterson’s Worldwide Awards in 2013. In recent years, the pair have also become frequent collaborators with JCole’s much-hyped Dreamville artist, Bas.
Their dream-like interpretation of ’The Man Who Sold The World’ beautifully reflects the ethereal, haunted nature of the song’s lyrics, written at a time when Bowie was struggling to reconcile Ziggy and David, wrestling with public and private personas.
“We both love Bowie so being asked to reimagine a song of our choice was a no brainer. David Bowie is a national treasure so it’s a true honour to pay homage to the man. The choice to cover ‘The Man Who Sold The World’ came very quickly, being a personal favourite.” – The Hics
Slated for release on May 28th 2021, ‘Modern Love, A David Bowie Tribute Album’ also features Miguel Atwood-Ferguson, Kit Sebastian, Jeff Parker, Sessa, Helado Negro, Khruangbin, Nia Andrews, Foxtrott, L’Rain, Eddie Chacon & John Carroll Kirby, Jonah Mutono, Bullion, Meshell Ndegeocello, Matthew Tavares and We Are KING.
Buy / Stream the EP here:https://orcd.co/chocolat
In his new song ‘Chocolat’, Belgican (Belgian / African) rapper Badi pays tribute to the power and beauty of black bodies. Between sensuality and spice, fantasy and fear, hanging from lips or trees, chocolate remains a forbidden fruit.
“Forbidden fruits hanging from trees,
Charming smile, knowing look,
Intertwined, the night is sold,
Angel leaps to your lips hanging,
Chocolate praline is just waiting to be cuddled,
Candy to go, I’ve come to comfort you…”
Nigerian singer J.O.J. brings a suave and modern touch to this collaboration and the impeccable production sound of Boddhi Satva pushes Badi to reveal his playful side.
‘Chocolat’ is taken from Badi’s new album ‘Trouble Fête‘, out now on BBE Music.
In the official video for ‘Chocolat’, Badi shares the screen with model Raissa Niyonsarai. The clip is directed by Mister Marabout and shot at Café Congo, Studio City Gate and Fabian Sanguinetti photo studio. Thanks to Tembo Prod (prod assistant), Wenzoki (make-up) and Rafael (Volvo).
Buy / Stream it here: https://orcd.co/sonatina
Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’.
Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music.
Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present.
When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al- Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life.
Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’.
Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.
Buy / Stream it here: https://orcd.co/kohsukeminefirst
BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines.
Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players – bassist Larry Ridley and drummer Lenny McBrowne – to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album.
‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama.
J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.
Buy / Stream the EP here: https://orcd.co/underwaterdreamingrmx
Following the release of debut single ‘Underwater Dreaming’ in 2020, Sons Of The Sun and BBE Music proudly present a stunning pair of remixes by UK Afro-House pioneer Zepherin Saint and Houston duo Beanz N Kornbread.
Founder of Tribe Records and House producer extraordinaire Zepherin Saint turns in a typically smooth and soulful rework of ‘Underwater Dreaming’, completely reinventing the track with a fresh chord structure and inventive use of the original’s layered backing vocals. The silky instrumental version of the remix is also included, especially for the deeper heads.
Donald Johnson & Kenneth Roy aka Beanz N Kornbread met as keyboard players in a local Texas church and have been working together ever since, writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg to name but a few. Johnson also plays drums in high-flying funk outfit Khruangbin. The pair’s chilled, yet bouncy, ‘Nawfside’ remix pays tribute to the pair’s shared North Houston upbringing in the 80’s with a sonic aesthetic they describe as “reminiscent of the low fidelity vinyl/cassette/VHS tape sound of its time”.
Sons of the Sun is a collaboration between American singer-songwriter JTronius and British producer Maverick Quest, featuring an inspired selection of luminary guests and musicians. Delivered remotely, the ingenious pair sent files back and forth between Texas and South East London to create their shared vision for the project. Remarkably, the duo has yet to meet in person. Their eponymous debut album is slated for release in June 2021 on BBE Music.
Buy / Stream the EP here: https://orcd.co/underwaterdreamingrmx
Following the release of debut single ‘Underwater Dreaming’ in 2020, Sons Of The Sun and BBE Music proudly present a stunning pair of remixes by UK Afro-House pioneer Zepherin Saint and Houston duo Beanz N Kornbread.
Founder of Tribe Records and House producer extraordinaire Zepherin Saint turns in a typically smooth and soulful rework of ‘Underwater Dreaming’, completely reinventing the track with a fresh chord structure and inventive use of the original’s layered backing vocals. The silky instrumental version of the remix is also included, especially for the deeper heads.
Donald Johnson & Kenneth Roy aka Beanz N Kornbread met as keyboard players in a local Texas church and have been working together ever since, writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg to name but a few. Johnson also plays drums in high-flying funk outfit Khruangbin. The pair’s chilled, yet bouncy, ‘Nawfside’ remix pays tribute to the pair’s shared North Houston upbringing in the 80’s with a sonic aesthetic they describe as “reminiscent of the low fidelity vinyl/cassette/VHS tape sound of its time”.
Sons of the Sun is a collaboration between American singer-songwriter JTronius and British producer Maverick Quest, featuring an inspired selection of luminary guests and musicians. Delivered remotely, the ingenious pair sent files back and forth between Texas and South East London to create their shared vision for the project. Remarkably, the duo has yet to meet in person. Their eponymous debut album is slated for release in June 2021 on BBE Music.
Buy on 12" vinyl or digital: orcd.co/lostmylove
Produced in collaboration with Berlin-based duo Re.decay, DJ Amir presents a brand new remix of Strata Records founder Kenny Cox’s track ‘Lost My Love’, taken from his long- forgotten mid 70’s album ‘Clap Clap! The Joyful Noise’.
Originally planned to be the second release on Detroit’s mythic Strata label (a precursor to its more famous cousin Strata East), pianist Kenny Cox’s first and only solo album came hot on the heels of The Lyman Woodard Organization’s classic ‘Saturday Night Special’. But, for reasons lost to the mists of time, the LP never saw the light of day until DJ Amir licensed the rights to the label’s catalogue and began scouring the archive in 2012, rediscovering ‘Clap Clap! The Joyful Noise’ and issuing it on his own 180 Proof imprint.
The closing track from ‘Clap Clap! The Joyful Noise’, ‘Lost My Love’ is a bossa-tinged, flute and mellotron string-laden, languid jazz-fusion gem, with Kenny Cox’s delicate electric piano chords at its warm centre. DJ Amir joins forces with Berlin production duo Re.decay for a complete rebuild of the track from the original master stems. Their version retains the cosy, analogue atmospherics of Cox’s original, complete with piano licks and flute trills, adding unhurried jazzy disco drums and drawing out the song’s subtly sleazy bass-line.
Serving as pianist for Etta Jones and recording for Blue Note records with his Contemporary Jazz Quintet, Kenny Cox founded the Strata label in the early 70’s, a natural progression from the Strata Concert Gallery which he opened in the late 60s, a tiny artist-led performance space that played host to jazz luminaries such as Ornette Coleman, Herbie Hancock and even Charles Mingus (a live recording of whose appearance at the Gallery was issued by BBE Music in 2018). He passed away at his Detroit home in 2008, survived by his widow, Barbara Cox.
Buy or stream the single: https://orcd.co/starchild Maverick and mercurial UK jazz talent Sean Khan announces his upcoming BBE Music album ‘Supreme Love’ with first single ‘Starchild’, featuring vocals by Heidi Vogel and a remix from Kaidi Tatham.
Combining new arrangements of John Coltrane classics and original compositions inspired by his musical teachings, Sean Khan’s ‘Supreme Love’ is slated for release in June 2021. Opening salvo ‘Starchild’ offers up a scintillating taste of what’s to come from the project, with Khan delivering dextrous, elastic melody lines on both sax and flute over lush, evocative strings and an ultra-slick rhythm section. The piece also features heart-stopping vocals from long-time collaborator, and front-woman for The Cinematic Orchestra, Heidi Vogel.
“So Starchild is in an odd time signature: 7/4.” says Khan. “Coltrane was well known for using 7 note groupings or septuplet beat divisions, so that part is in homage to him. The lyrics are an ode to childhood. That’s when we are probably at our most creative, and the impulse to explore and create is generally lost, for a variety of reasons, when we reach adulthood. If we can retain this curiosity, then we continue to grow. Coltrane obviously retained this quality, but others of a similar sensibility like Bowie, Claude Debussy, Roberto Bolano and many others also tapped into their childhood experience. The importance of recognising the child within you and allowing it to flourish is a difficult thing. Many of us let it go but others try, so this song is in tribute to those people that try.”
Giving a subtle nod to his background in the UK Broken Beat scene with the contemporary arrangement of ‘Starchild’, Khan enlists fellow pioneer of the genre Kaidi Tatham to rework the track. Tatham’s version offers up warm electric piano chords over relaxed head-nodding beats, slowly evolving into an intricate, yet effortless, double-time bruk-up groove.
Buy / Stream the EP here: orcd.co/heymister
The third single from forthcoming album ‘Take A Shot’, London band The Fantastics! present fiery dance-floor soul cut ‘Hey Mister!’, featuring the powerful voice of Sulene Fleming and a bouncy disco-house remix from Art Of Tones.
Described by the band as “an uptempo, in your face, rather saucy sister-funk number”, ‘Hey Mister!’ is a high-energy groove with call-and-response horn stabs, sure-footed vocals from Sulene Fleming and a soaring organ solo from the band’s founder Greg Boraman.
Accomplished French producer Art Of Tones turns in a supremely funky rework of ‘Hey Mister!’, retaining a live feel with many of the song’s original parts, while adding layers of funky clav and classic piano to summon up a timeless party vibe.
Buy / Stream it here: https://orcd.co/goodpeople
MF Robots unleash the third salvo from upcoming BBE Music album ‘Break The Wall’, a feelgood mid-tempo funk bubbler entitled ‘Good People’.
Underpinned by Jan’s unmistakable rock-solid rhythm section and topped off with Dawn’s life-affirming lyrics, ‘Good People’ delivers yet another tough groove, brought to life by some of the UK’s tightest musicians.
Following up their latest single ‘Good People’ on BBE Music, MF Robots unveil an extended version of the track accompanied by an up-tempo remix by MontaQue Adamson and a brand new ‘Bossy Nova’ version of ‘Mother Funkin’ Robots’ by Jan Kincaid.
Emerging London production duo MontaQue Adamson have both played with MF Robots since their first gig at The Bussey Building and helped write the band’s upcoming album ‘Break The Wall’. Both Alex Montaque (keys) and Naz Adamson (bass) have been staples in the UK music scene for the past 15 years, working with world-renowned artists both on stage and in the studio. Their remix of ‘Good People’ takes the laid back original and sends it into overdrive, with a funky-house interpretation.
Making the most of Dawn Joseph’s powerhouse vocal, Jan Kincaid’s ‘Bossy Nova Refit’ of previous single ‘Mother Funkin’ Robots’ injects an enticing Latin vibe into the cut, with a delightfully old-school synth line providing some light hearted interplay with that superb brass section. Says Jan: “it was a challenge to remix this tune and give it a different personality. I wanted it to be a fun late night, the last few dancers left in the place type of thing.” An extended of ‘Good People’ is also included in the package, alongside instrumental versions of all three tracks.
About MF Robots: Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The duo quickly morphed into a band as they found themselves in-demand at venues and festivals all over Europe, and haven’t looked back since.
Buy / Stream: https://orcd.co/underwaterdreamingrmx
Following the release of debut single ‘Underwater Dreaming’ in 2020, Sons Of The Sun and BBE Music proudly present a stunning pair of remixes by UK Afro-House pioneer Zepherin Saint and Houston duo Beanz N Kornbread.
Founder of Tribe Records and House producer extraordinaire Zepherin Saint turns in a typically smooth and soulful rework of ‘Underwater Dreaming’, completely reinventing the track with a fresh chord structure and inventive use of the original’s layered backing vocals. The silky instrumental version of the remix is also included, especially for the deeper heads.
Donald Johnson & Kenneth Roy aka Beanz N Kornbread met as keyboard players in a local Texas church and have been working together ever since, writing and producing for Z-Ro, Paul Wall, Mac Miller, George Clinton, Slim Thug, Le$ and Snoop Dogg to name but a few. Johnson also plays drums in high-flying funk outfit Khruangbin. The pair’s chilled, yet bouncy, ‘Nawfside’ remix pays tribute to the pair’s shared North Houston upbringing in the 80’s with a sonic aesthetic they describe as “reminiscent of the low fidelity vinyl/cassette/VHS tape sound of its time”.
Sons of the Sun is a collaboration between American singer-songwriter JTronius and British producer Maverick Quest, featuring an inspired selection of luminary guests and musicians. Delivered remotely, the ingenious pair sent files back and forth between Texas and South East London to create their shared vision for the project. Remarkably, the duo has yet to meet in person. Their eponymous debut album is slated for release in June 2021 on BBE Music.
Format: Digital Release Date: 09/04/2021
Buy the album: https://orcd.co/teenamarie
Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’.
“Teena is somewhat underrated, and people don’t really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don’t really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.”
John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age.
Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album ‘Starchild’). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’.
Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in “The Brockert Initiative”, which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.
Buy / Stream the song: https://orcd.co/chocolat In his new song ‘Chocolat’, Belgican (Belgian / African) rapper Badi pays tribute to the power and beauty of black bodies. Between sensuality and spice, fantasy and fear, hanging from lips or trees, chocolate remains a forbidden fruit.
“Forbidden fruits hanging from trees,
Charming smile, knowing look,
Intertwined, the night is sold,
Angel leaps to your lips hanging,
Chocolate praline is just waiting to be cuddled,
Candy to go, I’ve come to comfort you…”
Nigerian singer J.O.J. brings a suave and modern touch to this collaboration and the impeccable production sound of Boddhi Satva pushes Badi to reveal his playful side.
‘Chocolat’ is taken from Badi’s new album ‘Trouble Fête‘, out now on BBE Music.
In the official video for ‘Chocolat’, Badi shares the screen with model Raissa Niyonsarai. The clip is directed by Mister Marabout and shot at Café Congo, Studio City Gate and Fabian Sanguinetti photo studio. Thanks to Tembo Prod (prod assistant), Wenzoki (make-up) and Rafael (Volvo).
In his new song ‘Chocolat’, Belgican (Belgian / African) rapper Badi pays tribute to the power and beauty of black bodies. Between sensuality and spice, fantasy and fear, hanging from lips or trees, chocolate remains a forbidden fruit.
“Forbidden fruits hanging from trees,
Charming smile, knowing look,
Intertwined, the night is sold,
Angel leaps to your lips hanging,
Chocolate praline is just waiting to be cuddled,
Candy to go, I’ve come to comfort you…”
Nigerian singer J.O.J. brings a suave and modern touch to this collaboration and the impeccable production sound of Boddhi Satva pushes Badi to reveal his playful side.
‘Chocolat’ is taken from Badi’s new album ‘Trouble Fête‘, out now on BBE Music.
In the official video for ‘Chocolat’, Badi shares the screen with model Raissa Niyonsarai. The clip is directed by Mister Marabout and shot at Café Congo, Studio City Gate and Fabian Sanguinetti photo studio. Thanks to Tembo Prod (prod assistant), Wenzoki (make-up) and Rafael (Volvo).
Buy / Stream: https://orcd.co/starchild Maverick and mercurial UK jazz talent Sean Khan announces his upcoming BBE Music album ‘Supreme Love’ with first single ‘Starchild’, featuring vocals by Heidi Vogel and a remix from Kaidi Tatham.
Combining new arrangements of John Coltrane classics and original compositions inspired by his musical teachings, Sean Khan’s ‘Supreme Love’ is slated for release in June 2021. Opening salvo ‘Starchild’ offers up a scintillating taste of what’s to come from the project, with Khan delivering dextrous, elastic melody lines on both sax and flute over lush, evocative strings and an ultra-slick rhythm section. The piece also features heart-stopping vocals from long-time collaborator, and front-woman for The Cinematic Orchestra, Heidi Vogel.
“So Starchild is in an odd time signature: 7/4.” says Khan. “Coltrane was well known for using 7 note groupings or septuplet beat divisions, so that part is in homage to him. The lyrics are an ode to childhood. That’s when we are probably at our most creative, and the impulse to explore and create is generally lost, for a variety of reasons, when we reach adulthood. If we can retain this curiosity, then we continue to grow. Coltrane obviously retained this quality, but others of a similar sensibility like Bowie, Claude Debussy, Roberto Bolano and many others also tapped into their childhood experience. The importance of recognising the child within you and allowing it to flourish is a difficult thing. Many of us let it go but others try, so this song is in tribute to those people that try.”
Giving a subtle nod to his background in the UK Broken Beat scene with the contemporary arrangement of ‘Starchild’, Khan enlists fellow pioneer of the genre Kaidi Tatham to rework the track. Tatham’s version offers up warm electric piano chords over relaxed head-nodding beats, slowly evolving into an intricate, yet effortless, double-time bruk-up groove.
Buy / Stream the album here: https://bbemusic.bandcamp.com/album/j...
Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’.
“Teena is somewhat underrated, and people don’t really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don’t really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.”
John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age.
Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album ‘Starchild’). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’.
Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in “The Brockert Initiative”, which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.
Buy on 12" vinyl or digital: https://orcd.co/lostmylove
Produced in collaboration with Berlin-based duo Re.decay, DJ Amir presents a brand new remix of Strata Records founder Kenny Cox’s track ‘Lost My Love’, taken from his long- forgotten mid 70’s album ‘Clap Clap! The Joyful Noise’.
Originally planned to be the second release on Detroit’s mythic Strata label (a precursor to its more famous cousin Strata East), pianist Kenny Cox’s first and only solo album came hot on the heels of The Lyman Woodard Organization’s classic ‘Saturday Night Special’. But, for reasons lost to the mists of time, the LP never saw the light of day until DJ Amir licensed the rights to the label’s catalogue and began scouring the archive in 2012, rediscovering ‘Clap Clap! The Joyful Noise’ and issuing it on his own 180 Proof imprint.
The closing track from ‘Clap Clap! The Joyful Noise’, ‘Lost My Love’ is a bossa-tinged, flute and mellotron string-laden, languid jazz-fusion gem, with Kenny Cox’s delicate electric piano chords at its warm centre. DJ Amir joins forces with Berlin production duo Re.decay for a complete rebuild of the track from the original master stems. Their version retains the cosy, analogue atmospherics of Cox’s original, complete with piano licks and flute trills, adding unhurried jazzy disco drums and drawing out the song’s subtly sleazy bass-line.
Serving as pianist for Etta Jones and recording for Blue Note records with his Contemporary Jazz Quintet, Kenny Cox founded the Strata label in the early 70’s, a natural progression from the Strata Concert Gallery which he opened in the late 60s, a tiny artist-led performance space that played host to jazz luminaries such as Ornette Coleman, Herbie Hancock and even Charles Mingus (a live recording of whose appearance at the Gallery was issued by BBE Music in 2018). He passed away at his Detroit home in 2008, survived by his widow, Barbara Cox.
Buy / Stream the EP here: https://orcd.co/heymister
The third single from forthcoming album ‘Take A Shot’, London band The Fantastics! present fiery dance-floor soul cut ‘Hey Mister!’, featuring the powerful voice of Sulene Fleming and a bouncy disco-house remix from Art Of Tones.
Described by the band as “an uptempo, in your face, rather saucy sister-funk number”, ‘Hey Mister!’ is a high-energy groove with call-and-response horn stabs, sure-footed vocals from Sulene Fleming and a soaring organ solo from the band’s founder Greg Boraman.
Accomplished French producer Art Of Tones turns in a supremely funky rework of ‘Hey Mister!’, retaining a live feel with many of the song’s original parts, while adding layers of funky clav and classic piano to summon up a timeless party vibe.
Buy / Stream: https://orcd.co/jjazz3
BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan.
Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired, and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop, and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity.
Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai.
Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled, and annotated by Tony Higgins and Mike Peden for BBE Music.
BBE Music unveils the second single from forthcoming David Bowie tribute ‘Modern Love’, a subtle and introspective take on ‘Sound & Vision’ by Helado Negro.
Originally released as the first single from Bowie’s 1977 album ‘Low’, ‘Sound & Vision’ represented the artist’s gradual recovery from drug addiction. He said the song was about “wanting to be put in a little cold room with omnipotent blue on the walls and blinds on the windows.”
An American electronic musician with strong Latin roots, Roberto Carlos Lange (aka Helado Negro) is a prolific and versatile creative who has previously also worked on both visual art and sound sculpture projects, so it’s hard to imagine a more appropriate Bowie song for him to cover.
As the artist puts it: “the cover I imagined was something living in between sleep and awake where sound and vision dominate. Residue from your dream state mixed in with waking up and stirring into what the day will be.“
Helado Negro’s version of ‘Sound & Vision’ is built upon his distinctive lush, lo-fi electronic arrangement, while his subtle vocal delivery really draws out the introverted, solitary nature of the song.
Due for release on May 28th 2021, ‘Modern Love, A David Bowie Tribute Album’ also features Miguel Atwood-Ferguson, Kit Sebastian, Jeff Parker, Sessa, The Hics, Khruangbin, Nia Andrews, Foxtrott, L’Rain, Eddie Chacon & John Carroll Kirby, Jonah Mutono, Bullion, Meshell Ndegeocello, Matthew Tavares and We Are KING.
Buy / Stream the album here: https://orcd.co/shintaro
BBE Music presents the seventh release in its highly acclaimed J Jazz Master Class Series: ‘Evolution’ by Shintaro Quintet. Recorded in 1984 and originally released on the private label Streetnoise Records, ‘Evolution’ is a perfect example of stately modal jazz with every one of its five tracks composed by band leader and bassist, Shintaro Nakamura.
A cut from the album, ‘A Blind Man’, was included on the BBE Music compilation ‘J Jazz – Deep Modern Jazz from Japan 1969-1984’, and it’s a track that’s indicative of the album’s graceful blend of spiritual jazz and gently swinging minor blues waltzes, a style favoured by Nakamura that allows the band to stretch out and explore the strong melodic themes, lush arrangements and seductive rhythms.
Recorded in New York, ‘Evolution’ features the great Japanese trumpet player Shunzo Ohno alongside a mixed Japanese-American band: pianist Jeff Jenkins, who brings a touch of McCoy Tyner’s percussive blues to the album, has worked with many jazz greats including Freddie Hubbard, Eddie Harris and Clark Terry; US-born Saxophonist Bob Kenmotsu, one- time member of Jack McDuff’s band has also recorded and performed with jazz guitarist Pat Martino; and drummer Fukushi Tainaka, who studied under Philly Joe Jones, completes the solid rhythm section with Nakamura and Jenkins.
‘Evolution’ is reissued as a double 45rpm 180g LP, cut by the Grammy-nominated Carvery Studio. The BBE Music edition features exact reproductions of the original artwork and super-rare diagonal obi strip. It also comes with the original notes fully translated plus a new extended essay and interview with band members by Tony Higgins. ‘Evolution’ is also available as a CD and across digital formats.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material, presented in the highest quality reproductions of the original releases, fully licensed and authorised by the artists and labels.
Buy / Stream the EP here: https://orcd.co/heymister
The third single from forthcoming album ‘Take A Shot’, London band The Fantastics! present fiery dance-floor soul cut ‘Hey Mister!’, featuring the powerful voice of Sulene Fleming and a bouncy disco-house remix from Art Of Tones.
Described by the band as “an uptempo, in your face, rather saucy sister-funk number”, ‘Hey Mister!’ is a high-energy groove with call-and-response horn stabs, sure-footed vocals from Sulene Fleming and a soaring organ solo from the band’s founder Greg Boraman.
Accomplished French producer Art Of Tones turns in a supremely funky rework of ‘Hey Mister!’, retaining a live feel with many of the song’s original parts, while adding layers of funky clav and classic piano to summon up a timeless party vibe.
Buy / Stream the album: https://orcd.co/welcome2detroit
BBE Music announces a special 20th Anniversary edition of one of the most important records in the label’s history: J Dilla’s Welcome 2 Detroit, presented in a deluxe 7” vinyl box set boasting instrumentals, two brand new interpretations by Azymuth and Muro, a stash of previously unreleased alternative mixes and studio outtakes pressed over 12 discs, plus a book revealing the album’s hidden story, told by those who were there.
First issued by BBE Music on Monday 26th of February 2001, Welcome 2 Detroit was James Dewitt Yancey aka Jay Dee’s first solo outing and the debut appearance of his new ‘J Dilla’ moniker (bestowed on him by none other than Busta Rhymes). The album also inaugurated the producer-led Beat Generation album series, which would later spawn classic LPs by DJ Jazzy Jeff, Pete Rock, DJ Spinna, Marley Marl and even will.i.am, all of whom had been inspired to reach for new creative heights by hearing Dilla’s magnum opus.
Choosing to showcase his own voice and the voices of local rap-heroes from across the city instead of big stars, Welcome 2 Detroit marked a coming of age for the then 27 year-old producer, who fully embraced the creative-freedom offered by BBE for his first solo project. As Dilla tells it: “Peter (Adarkwah, founder of BBE) let me do whatever I wanted to do. So, I wanted to put people on there who are gonna spit y’know, lyrically and represent Detroit. Because I wouldn’t have been able to pull this album off if it came out under a major. Cos they’re not gonna let you just do a song or you can’t just do an instrumental. You gotta have this feature and you’re Jay Dee, why ain’t you got Erykah Badu? Why ain’t you got so and so on your album? I’d have had to go through all of that, instead of just putting out…y’know, Beej on this joint!”
The album would prove to be the perfect distillation of Dilla’s Detroit. From Kraftwerk- inspired Tech Noir that would make Metroplex proud, through subtle echoes from Africa, live jazz-funk and bossa-nova grooves, to tough Midwest boom-bap, this record somehow showed reverence to the city’s past without ever leaving its present. Grimy street flows that somehow swayed like James Brown. Unquantized marvels, so free and alive in their bounce, that they could seduce the hardest of hard-rocks into the sweetest screwface! Diverse, multifaceted, super collaborative and yet somehow singular, Welcome 2 Detroit was the shy and humble James Yancey revealing his true self in the only way he knew how: through his music.
“The numerous guest appearances from some of the city’s best MCs at the time — Beej, Big Tone, Elzhi, Frank N Dank, Phat Kat — added to the album’s immersive experience, offering listeners a taste of Detroit in a way that only Jay Dee could do.” – Okayplayer
To mark the 20th Anniversary of this momentous record, BBE Music is issuing a specially remastered edition of Welcome 2 Detroit, featuring a stunning new remix of ‘Think Twice’ by Japanese DJ/producer Muro and a stellar cover version of ‘Rico Suave Bossa Nova’ by legendary Brazilian jazz-funk juggernauts Azymuth, plus a stash of newly discovered alternate versions and work-in-progress recordings from the album sessions, lovingly reproduced from priceless cassette tapes recorded by J Dilla himself. An accompanying book by British writer and filmmaker John Vanderpuije offers an oral history of the album’s making, as told by Amp Fiddler, Ma Dukes and all of the album’s key musical contributors. The deluxe 7” vinyl box set and digital album will be released on February 5th 2021 during the annual #DillaMonth celebration, as close to the great man’s birthday as possible, and will be available to pre-order from the BBE website and Bandcamp from November 3rd 2020.
Buy / Stream the album here: https://orcd.co/jjazz3
BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan.
Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired, and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop, and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity.
Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai.
Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled, and annotated by Tony Higgins and Mike Peden for BBE Music.
Format: 12x 7″ Vinyl Box Set / Digital Release Date: February 5th, 2021 Pre-order / pre-save: https://orcd.co/welcome2detroit
BBE Music announces a special 20th Anniversary edition of one of the most important records in the label’s history: J Dilla’s Welcome 2 Detroit, presented in a deluxe 7” vinyl box set boasting instrumentals, two brand new interpretations by Azymuth and Muro, a stash of previously unreleased alternative mixes and studio outtakes pressed over 12 discs, plus a book revealing the album’s hidden story, told by those who were there.
First issued by BBE Music on Monday 26th of February 2001, Welcome 2 Detroit was James Dewitt Yancey aka Jay Dee’s first solo outing and the debut appearance of his new ‘J Dilla’ moniker (bestowed on him by none other than Busta Rhymes). The album also inaugurated the producer-led Beat Generation album series, which would later spawn classic LPs by DJ Jazzy Jeff, Pete Rock, DJ Spinna, Marley Marl and even will.i.am, all of whom had been inspired to reach for new creative heights by hearing Dilla’s magnum opus.
Choosing to showcase his own voice and the voices of local rap-heroes from across the city instead of big stars, Welcome 2 Detroit marked a coming of age for the then 27 year-old producer, who fully embraced the creative-freedom offered by BBE for his first solo project. As Dilla tells it: “Peter (Adarkwah, founder of BBE) let me do whatever I wanted to do. So, I wanted to put people on there who are gonna spit y’know, lyrically and represent Detroit. Because I wouldn’t have been able to pull this album off if it came out under a major. Cos they’re not gonna let you just do a song or you can’t just do an instrumental. You gotta have this feature and you’re Jay Dee, why ain’t you got Erykah Badu? Why ain’t you got so and so on your album? I’d have had to go through all of that, instead of just putting out…y’know, Beej on this joint!”
The album would prove to be the perfect distillation of Dilla’s Detroit. From Kraftwerk- inspired Tech Noir that would make Metroplex proud, through subtle echoes from Africa, live jazz-funk and bossa-nova grooves, to tough Midwest boom-bap, this record somehow showed reverence to the city’s past without ever leaving its present. Grimy street flows that somehow swayed like James Brown. Unquantized marvels, so free and alive in their bounce, that they could seduce the hardest of hard-rocks into the sweetest screwface! Diverse, multifaceted, super collaborative and yet somehow singular, Welcome 2 Detroit was the shy and humble James Yancey revealing his true self in the only way he knew how: through his music.
“The numerous guest appearances from some of the city’s best MCs at the time — Beej, Big Tone, Elzhi, Frank N Dank, Phat Kat — added to the album’s immersive experience, offering listeners a taste of Detroit in a way that only Jay Dee could do.” – Okayplayer
To mark the 20th Anniversary of this momentous record, BBE Music is issuing a specially remastered edition of Welcome 2 Detroit, featuring a stunning new remix of ‘Think Twice’ by Japanese DJ/producer Muro and a stellar cover version of ‘Rico Suave Bossa Nova’ by legendary Brazilian jazz-funk juggernauts Azymuth, plus a stash of newly discovered alternate versions and work-in-progress recordings from the album sessions, lovingly reproduced from priceless cassette tapes recorded by J Dilla himself. An accompanying book by British writer and filmmaker John Vanderpuije offers an oral history of the album’s making, as told by Amp Fiddler, Ma Dukes and all of the album’s key musical contributors. The deluxe 7” vinyl box set and digital album will be released on February 5th 2021 during the annual #DillaMonth celebration, as close to the great man’s birthday as possible, and will be available to pre-order from the BBE website and Bandcamp from November 3rd 2020.
Buy / Stream the album: https://orcd.co/nostalgiabeats
Formerly known as Slakah the Beatchild then Beatchild & The Slakadeliqs, now simply Beatchild, Canadian musician, producer and songwriter Byram Joseph returns to BBE Music with retrospective instrumental collection Nostalgia: Beats of 2008 – 2020.
Juno-nominated Beatchild first arrived on BBE back in 2008 with Soul Movement Vol.1, a timeless hip hop fusion record with lush live acoustic instrumentation and guest appearances from Drake, Divine Brown, Shad and many more. Vol. 2 followed in 2014, further developing Byram’s distinctive, languid and organic sound, featuring Glenn Lewis, Spek Won, and Tanika Charles, to name a few. 2018’s Heavy Rockin’ Steady saw Beatchild take more of a central role as a lead vocalist, performing on almost every track, including memorable duet ‘The Only Difference’ with Justin Nozuka.
For Nostalgia: Beats of 2008 – 2020, Beatchild has selected his favourite cuts from his first three BBE albums, presenting instrumental versions for the first time alongside previously unreleased bonus tracks recorded over the last 12 years. These instrumentals let Beatchild’s natural musical aesthetic breathe, reframing his warm, uncluttered productions and letting his smooth, blunted, soulful beats speak for themselves.
Release date: January 29, 2021 Format: Digital
Pre-order on vinyl, CD or digital: https://orcd.co/shintaro
BBE Music presents the seventh release in its highly acclaimed J Jazz Master Class Series: ‘Evolution’ by Shintaro Quintet. Recorded in 1984 and originally released on the private label Streetnoise Records, ‘Evolution’ is a perfect example of stately modal jazz with every one of its five tracks composed by band leader and bassist, Shintaro Nakamura.
A cut from the album, ‘A Blind Man’, was included on the BBE Music compilation ‘J Jazz – Deep Modern Jazz from Japan 1969-1984’, and it’s a track that’s indicative of the album’s graceful blend of spiritual jazz and gently swinging minor blues waltzes, a style favoured by Nakamura that allows the band to stretch out and explore the strong melodic themes, lush arrangements and seductive rhythms.
Recorded in New York, ‘Evolution’ features the great Japanese trumpet player Shunzo Ohno alongside a mixed Japanese-American band: pianist Jeff Jenkins, who brings a touch of McCoy Tyner’s percussive blues to the album, has worked with many jazz greats including Freddie Hubbard, Eddie Harris and Clark Terry; US-born Saxophonist Bob Kenmotsu, one- time member of Jack McDuff’s band has also recorded and performed with jazz guitarist Pat Martino; and drummer Fukushi Tainaka, who studied under Philly Joe Jones, completes the solid rhythm section with Nakamura and Jenkins.
‘Evolution’ is reissued as a double 45rpm 180g LP, cut by the Grammy-nominated Carvery Studio. The BBE Music edition features exact reproductions of the original artwork and super-rare diagonal obi strip. It also comes with the original notes fully translated plus a new extended essay and interview with band members by Tony Higgins. ‘Evolution’ is also available as a CD and across digital formats.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material, presented in the highest quality reproductions of the original releases, fully licensed and authorised by the artists and labels.
Stream the song or pre-order the album: https://orcd.co/welcome2detroit
BBE Music announces a special 20th Anniversary edition of one of the most important records in the label’s history: J Dilla’s Welcome 2 Detroit, presented in a deluxe 7” vinyl box set boasting instrumentals, two brand new interpretations by Azymuth and Muro, a stash of previously unreleased alternative mixes and studio outtakes pressed over 12 discs, plus a book revealing the album’s hidden story, told by those who were there.
First issued by BBE Music on Monday 26th of February 2001, Welcome 2 Detroit was James Dewitt Yancey aka Jay Dee’s first solo outing and the debut appearance of his new ‘J Dilla’ moniker (bestowed on him by none other than Busta Rhymes). The album also inaugurated the producer-led Beat Generation album series, which would later spawn classic LPs by DJ Jazzy Jeff, Pete Rock, DJ Spinna, Marley Marl and even will.i.am, all of whom had been inspired to reach for new creative heights by hearing Dilla’s magnum opus.
Choosing to showcase his own voice and the voices of local rap-heroes from across the city instead of big stars, Welcome 2 Detroit marked a coming of age for the then 27 year-old producer, who fully embraced the creative-freedom offered by BBE for his first solo project. As Dilla tells it: “Peter (Adarkwah, founder of BBE) let me do whatever I wanted to do. So, I wanted to put people on there who are gonna spit y’know, lyrically and represent Detroit. Because I wouldn’t have been able to pull this album off if it came out under a major. Cos they’re not gonna let you just do a song or you can’t just do an instrumental. You gotta have this feature and you’re Jay Dee, why ain’t you got Erykah Badu? Why ain’t you got so and so on your album? I’d have had to go through all of that, instead of just putting out…y’know, Beej on this joint!”
The album would prove to be the perfect distillation of Dilla’s Detroit. From Kraftwerk- inspired Tech Noir that would make Metroplex proud, through subtle echoes from Africa, live jazz-funk and bossa-nova grooves, to tough Midwest boom-bap, this record somehow showed reverence to the city’s past without ever leaving its present. Grimy street flows that somehow swayed like James Brown. Unquantized marvels, so free and alive in their bounce, that they could seduce the hardest of hard-rocks into the sweetest screwface! Diverse, multifaceted, super collaborative and yet somehow singular, Welcome 2 Detroit was the shy and humble James Yancey revealing his true self in the only way he knew how: through his music.
“The numerous guest appearances from some of the city’s best MCs at the time — Beej, Big Tone, Elzhi, Frank N Dank, Phat Kat — added to the album’s immersive experience, offering listeners a taste of Detroit in a way that only Jay Dee could do.” – Okayplayer
To mark the 20th Anniversary of this momentous record, BBE Music is issuing a specially remastered edition of Welcome 2 Detroit, featuring a stunning new remix of ‘Think Twice’ by Japanese DJ/producer Muro and a stellar cover version of ‘Rico Suave Bossa Nova’ by legendary Brazilian jazz-funk juggernauts Azymuth, plus a stash of newly discovered alternate versions and work-in-progress recordings from the album sessions, lovingly reproduced from priceless cassette tapes recorded by J Dilla himself. An accompanying book by British writer and filmmaker John Vanderpuije offers an oral history of the album’s making, as told by Amp Fiddler, Ma Dukes and all of the album’s key musical contributors. The deluxe 7” vinyl box set and digital album will be released on February 5th 2021 during the annual #DillaMonth celebration, as close to the great man’s birthday as possible, and will be available to pre-order from the BBE website and Bandcamp from November 3rd 2020.
Format: 12x 7″ Vinyl Box Set / Digital Release Date: February 5th, 2021
BBE Music announces forthcoming David Bowie tribute album ‘Modern Love’ with first single ‘Space Oddity’ reinterpreted by Grammy-nominated twin sisters We Are KING.
Much lauded by the likes of Rolling Stone, TIME, Glamour, and The New York Times, We Are KING’s ethereal, synth-laden soul sound has earned them the #1 position on Billboard’s Heatseekers chart, and their self-titled debut album placed within the Top Ten on the Independent and R&B Album charts. The duo has also contributed writing, production, vocal, keys and arrangement to Kendrick Lamar, Bilal, Robert Glasper, Sam Sparro and The Foreign Exchange among many others.
Released on David Bowie’s birthday (January 8th 2021), their cover of his surprise 1972 hit ‘Space Oddity’ is a paean to this wholly singular and somewhat eccentric anthem. Smooth, subtle and assured, We Are KING’s version remains true to the original, while blending in just enough soul to make it their own.
“There were so many amazing Bowie compositions to choose from but Space Oddity has always been our favorite- it’s so visual; it has always felt like time travel in a song. It tells such a vivid and imaginative story of Major Tom’s trip through space and it was such a cool experience to reimagine what it’d be like on the voyage” – We Are KING.
Like BBE album ‘Exit Music: Songs with Radio Heads’ did for the music of Radiohead back in 2006, ‘Modern Love’ offers a fresh look at David Bowie’s diverse and transcendent back catalogue, viewed through a contemporary Black music lens. The project is curated by Music Exec & DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah.
“I felt that the connection between Bowie and Black music styles and culture (especially soul, R&B, jazz, funk, and gospel) had never really been explored before — at least not so much in covers, which tend to lean towards rock. Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.” – Drew McFadden
Modern Love is due to be released in May 2021. The album also features: Khruangbin (Right), Helado Negro (Sound & Vision), Matthew Tavares (Heroes), Jeff Parker (Soul Love), MiguelAtwood Ferguson (Life On Mars), Meshell Ndegeocello (Fantastic Voyage), The Hics (TheMan Who Sold The World), Bullion (Where Are We Now), Jonah Mutono (Modern Love), NiaAndrews (Silly Boy Blue), L’Rain (Move On), Sessa (Panic In Detroit), Kit Sebastian (LadyGrinning Soul) and Eddie Chacon feat. John Carroll Kirby (Tonight).
BBE Music announces forthcoming David Bowie tribute album ‘Modern Love’ with first single ‘Space Oddity’ reinterpreted by Grammy-nominated twin sisters We Are KING.
Much lauded by the likes of Rolling Stone, TIME, Glamour, and The New York Times, We Are KING’s ethereal, synth-laden soul sound has earned them the #1 position on Billboard’s Heatseekers chart, and their self-titled debut album placed within the Top Ten on the Independent and R&B Album charts. The duo has also contributed writing, production, vocal, keys and arrangement to Kendrick Lamar, Bilal, Robert Glasper, Sam Sparro and The Foreign Exchange among many others.
Released on David Bowie’s birthday (January 8th 2021), their cover of his surprise 1972 hit ‘Space Oddity’ is a paean to this wholly singular and somewhat eccentric anthem. Smooth, subtle and assured, We Are KING’s version remains true to the original, while blending in just enough soul to make it their own.
“There were so many amazing Bowie compositions to choose from but Space Oddity has always been our favorite- it’s so visual; it has always felt like time travel in a song. It tells such a vivid and imaginative story of Major Tom’s trip through space and it was such a cool experience to reimagine what it’d be like on the voyage” – We Are KING.
Like BBE album ‘Exit Music: Songs with Radio Heads’ did for the music of Radiohead back in 2006, ‘Modern Love’ offers a fresh look at David Bowie’s diverse and transcendent back catalogue, viewed through a contemporary Black music lens. The project is curated by Music Exec & DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah.
“I felt that the connection between Bowie and Black music styles and culture (especially soul, R&B, jazz, funk, and gospel) had never really been explored before — at least not so much in covers, which tend to lean towards rock. Certainly, there’s been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction.” – Drew McFadden
Modern Love is due to be released in May 2021. The album also features: Khruangbin (Right), Helado Negro (Sound & Vision), Matthew Tavares (Heroes), Jeff Parker (Soul Love), MiguelAtwood Ferguson (Life On Mars), Meshell Ndegeocello (Fantastic Voyage), The Hics (TheMan Who Sold The World), Bullion (Where Are We Now), Jonah Mutono (Modern Love), NiaAndrews (Silly Boy Blue), L’Rain (Move On), Sessa (Panic In Detroit), Kit Sebastian (LadyGrinning Soul) and Eddie Chacon feat. John Carroll Kirby (Tonight).
Buy / Stream it here: https://orcd.co/shintaro
BBE Music presents the seventh release in its highly acclaimed J Jazz Master Class Series: ‘Evolution’ by Shintaro Quintet. Recorded in 1984 and originally released on the private label Streetnoise Records, ‘Evolution’ is a perfect example of stately modal jazz with every one of its five tracks composed by band leader and bassist, Shintaro Nakamura.
A cut from the album, ‘A Blind Man’, was included on the BBE Music compilation ‘J Jazz – Deep Modern Jazz from Japan 1969-1984’, and it’s a track that’s indicative of the album’s graceful blend of spiritual jazz and gently swinging minor blues waltzes, a style favoured by Nakamura that allows the band to stretch out and explore the strong melodic themes, lush arrangements and seductive rhythms.
Recorded in New York, ‘Evolution’ features the great Japanese trumpet player Shunzo Ohno alongside a mixed Japanese-American band: pianist Jeff Jenkins, who brings a touch of McCoy Tyner’s percussive blues to the album, has worked with many jazz greats including Freddie Hubbard, Eddie Harris and Clark Terry; US-born Saxophonist Bob Kenmotsu, one- time member of Jack McDuff’s band has also recorded and performed with jazz guitarist Pat Martino; and drummer Fukushi Tainaka, who studied under Philly Joe Jones, completes the solid rhythm section with Nakamura and Jenkins.
‘Evolution’ is reissued as a double 45rpm 180g LP, cut by the Grammy-nominated Carvery Studio. The BBE Music edition features exact reproductions of the original artwork and super-rare diagonal obi strip. It also comes with the original notes fully translated plus a new extended essay and interview with band members by Tony Higgins. ‘Evolution’ is also available as a CD and across digital formats.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material, presented in the highest quality reproductions of the original releases, fully licensed and authorised by the artists and labels.
Buy / Stream it here: https://orcd.co/nostalgiabeats
Formerly known as Slakah the Beatchild then Beatchild & The Slakadeliqs, now simply Beatchild, Canadian musician, producer and songwriter Byram Joseph returns to BBE Music with retrospective instrumental collection Nostalgia: Beats of 2008 – 2020.
Juno-nominated Beatchild first arrived on BBE back in 2008 with Soul Movement Vol.1, a timeless hip hop fusion record with lush live acoustic instrumentation and guest appearances from Drake, Divine Brown, Shad and many more. Vol. 2 followed in 2014, further developing Byram’s distinctive, languid and organic sound, featuring Glenn Lewis, Spek Won, and Tanika Charles, to name a few. 2018’s Heavy Rockin’ Steady saw Beatchild take more of a central role as a lead vocalist, performing on almost every track, including memorable duet ‘The Only Difference’ with Justin Nozuka.
For Nostalgia: Beats of 2008 – 2020, Beatchild has selected his favourite cuts from his first three BBE albums, presenting instrumental versions for the first time alongside previously unreleased bonus tracks recorded over the last 12 years. These instrumentals let Beatchild’s natural musical aesthetic breathe, reframing his warm, uncluttered productions and letting his smooth, blunted, soulful beats speak for themselves.
Buy / Stream the EP here: orcd.co/pyramid
London band The Fantastics! return to BBE Music with instrumental jazz-dance masterpiece ‘Pyramid’, the second single to be taken from their forthcoming album ‘Take A Shot’.
‘Pyramid’ was born fully formed in the musical mind of the groups’ saxophonist & flautist Mark Norton – an ethereal instrumental that’s 50% contemplative spiritual introspection à la Pharoah Sanders / Coltrane /Airto Moreira, 50% prime Dingwall’s dance-floor fodder.
Organist Greg Boraman conjured up the intriguing ‘Oblique’, which is a fairly curious musical hybrid. If you had ever wondered what a collaboration between 70’s era Charles Earland, Dexter Wansel and Roni Size for a KPM library music album might sound like – here’s your answer! Fender Rhodes, Hammond, flute and spacy synthesizers ride across James Smith’s sterling drum work, and Sulene Flemings’ ghostly wordless background vocals mark this track out as a spacey jazz-funk oddity.
‘Liquor & Poker’ is a homage to 1950’s organ & sax rhythm & blues became a firm favourite in the bands live shows – it’s combination of old school swinging drums, honking tenor, gritty guitar and organ is always a crowd pleaser, but didn’t quite make it onto the bands forthcoming long player ‘Take A Shot’ – so is included here as a bonus throwback slice of the good groove.
Buy / Stream the EP here: https://orcd.co/pyramid
London band The Fantastics! return to BBE Music with instrumental jazz-dance masterpiece ‘Pyramid’, the second single to be taken from their forthcoming album ‘Take A Shot’.
‘Pyramid’ was born fully formed in the musical mind of the groups’ saxophonist & flautist Mark Norton – an ethereal instrumental that’s 50% contemplative spiritual introspection à la Pharoah Sanders / Coltrane /Airto Moreira, 50% prime Dingwall’s dance-floor fodder.
Organist Greg Boraman conjured up the intriguing ‘Oblique’, which is a fairly curious musical hybrid. If you had ever wondered what a collaboration between 70’s era Charles Earland, Dexter Wansel and Roni Size for a KPM library music album might sound like – here’s your answer! Fender Rhodes, Hammond, flute and spacy synthesizers ride across James Smith’s sterling drum work, and Sulene Flemings’ ghostly wordless background vocals mark this track out as a spacey jazz-funk oddity.
‘Liquor & Poker’ is a homage to 1950’s organ & sax rhythm & blues became a firm favourite in the bands live shows – it’s combination of old school swinging drums, honking tenor, gritty guitar and organ is always a crowd pleaser, but didn’t quite make it onto the bands forthcoming long player ‘Take A Shot’ – so is included here as a bonus throwback slice of the good groove.
Buy / Stream the album: https://orcd.co/staffselections2020
BBE Music takes a look back at what’s been a strange and turbulent twelve months in all our lives, offering up its Staff Selections for 2020, as chosen by the label team themselves.
It’s been a year many of us would rather forget, and when COVID lockdowns were announced in the spring, none of us knew what would happen, either to us or to the label. We immediately ceased producing vinyl and CDs and scaled back our operation, yet somehow we’ve reached the year’s end with another incredible bounty of diverse and beautiful releases to look back on.
As hard times always do, lockdowns sparked creativity, and the music flowed forth like water. Exciting original cuts from Luis Radio, OVEOUS, The Fantastics!, Sons Of The Sun and Sumsuch kept our spirits high as weeks of COVID turned to months. Compilations and reissues from Sidiku Buari, Ihsan Al-Munzer, Hideto Sasaki & Toshiyuki Sekine Quartet +1, Tabansi Studio Band, Ronnie Herel, Larry Rose Band, Ambiance, and Victor Chukwu kept us busy and beguiled. The discovery of a previously unreleased Roy Ayers gem caused major excitement in our Zoom meetings.
The loss of artist, friend and brother, TY, was hard to bear; releasing Durrty Goodz’ touching tribute song ‘The Real Ones‘ helped us all focus our grief as he gave voice to our emotions. Commissioning Moodymann and Kenny Dope to rework the SunPalace classic ‘Rude Movements’ felt bittersweet, as Mike Collins isn’t with us to hear the results from the two artists he himself requested to remix his masterpiece before his passing in 2018.
But alongside all the ups and downs this year, our listeners’ continued support and encouragement has been a constant blessing. We all thank you for staying with us and for lending us your precious time and attention over the last twelve months. BBE turns 25 in 2021, and we plan to mark the occasion with a raft of incredible releases, but until next year, please take extra-special care of yourselves.
Release Date: December 11, 2020 Format: Digital
Buy / Stream the EP here: https://orcd.co/motherfunkinrobots
Fresh from opening salvo ‘Happy Song’, dynamic duo MF Robots move another step closer to the release of new album ‘Break The Wall’ with ultra-funky second single ‘Mother Funkin’Robots’.
A red hot mid-tempo stepper with tonnes of attitude, the tough groove and insanely tight performance captured on ‘Mother Funkin’ Robots’ wouldn’t sound out of place on a vintage Tower Of Power or Maceo Parker LP.
Rocket propelled by tour-zade-force performances from Alex Montaque (clav/keys), NazAdamson (bass), Mark Beaney (guitar), BenTreacher (sax) and Jack Birchwood (trumpet) alongside Jan Kincaid’s rock-solid drumming and Dawn Joseph’s powerful vocal, ‘Mother Funkin’ Robots’ is the product of a wild jam session that took place in a boiling Brixton rehearsal room sometime in 2019.
Featuring a soul-stirring breakdown complete with soul-claps and presented with a special extended instrumental version for funk purists, ‘Mother Funkin’ Robots’ is to be unleashed on November 6th 2020.
Buy / Stream the Ep here: orcd.co/hypersoul_medicine
Poet, singer, producer and DJ OVEOUS returns to BBE Music for ‘MEDICINE’, the final in a trio of three interconnected EPs on the label.
EPs ‘FIRE’, ‘HEART’ and ‘MEDICINE’ tell a musical tale that traces OVEOUS’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. The project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
‘MEDICINE’ represents the final chapter in our love story. As OVEOUS puts it, this EP “transitions from the utopian experience of riding that love phase, into the realities associated with healing after two people who create a deep connection have to depart and go down a new path in their lives. However, there is also celebration in healing. To me, the death of one relationship allows for the beauty and the birth of a new experience. It is a time of reflection. An opportunity to show gratitude for the experiences we shared with a loved one.”
Opening track ‘Get At Me’, collaboration with Thosh Collins, sees OVEOUS laying down sensuous vocals over a classic deep house groove. The lyrics have the artist “praising women with a new found confidence that I might not have had if I hadn’t found love for myself, after my ego had taken a few shots to the dome-piece.”
‘Echoes of You’ is a warm, touching song, full of love and appreciation. “It was my way of saying thank you and goodbye to someone really special” says OVEOUS.
Compact, bass and chord led final track ‘I’m Goodie’, is a clear announcement of hope and a reminder that we all can heal, if we let the MEDICINE from within us do its job.
Sharpening his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music.
Available on 2LP vinyl, CD and digital formats: orcd.co/victorchukwu
BBE Music presents Akalaka and The Power, a double helping of old-school Igbo highlife from one of the genre’s acknowledged masters, Victor Chukwu.
Highlife was the music that the Igbo people made their own after the horrors of the Biafran war; music that rebuilt a sense of pride, identity and dignity. Tabansi recording star ‘Uncle’ Victor Chukwu’s super-rare, almost un-Google-able albums Akalaka and The Power are now in your hands, issued back-to-back by BBE for the first time anywhere in four decades.
These sets were probably recorded around 1977-79 at the Tabansi Studios in Onitsha, with Chief Tabansi also mixing and mastering: a 100% homegrown Tabansi product. Victor worked with a bassist, a drummer, and some brass- although he also doubled himself on tenor sax and arranged much of these glorious sessions.
The songs have an inimitable feel-good quality: happy, dignified, proud, spiritual, everything except one composition in major key. Perhaps it’s no surprise that many 70s and 80s Igbo highlife group members are today gospel singers and musicians.
Seven killer Igbo grooves combined in this first ever reissue of two impossible-to-find Tabansi LPs back to back, based around the traditional Ogene 6/8 bell ‘clave’ and brassheavy, spiritual highlife
Buy / Stream the album: orcd.co/baditroublefete
Released on Batakari, a brand new collaborative imprint from Boddhi Satva and BBE Music founder Peter Adarkwah, “Belgican” (Belgian / African) vocalist Badi presents his album Trouble-Fête (Kill-joy / Spoilsport – literally ‘party disruptor’).
Trouble Fête is produced by Boddhi Satva, Afro-House pioneer and inventor of Ancestral Soul, an artist who cemented his formidable reputation through collaborations with Bilal, Omar and Oumou Sangaré, to name but a few. While Boddhi Satva’s beats invite the audience to dance ‘til the end of the night, Badi’s words stir the conscience and upset certainties. A facetious dandy, Badi questions the World and jostles with trends.
This Belgian speaks his mind. The kind who sings what others whisper, who says loudly the proletariat realities, Badi smiles but is not wrong. Over lush melodies, his lyrics underline the deficiencies of a failing society. This is perfectly evidenced by Mauvaise Ambiance, the opening opus on an album driven by extra-large convictions. Between ultimate disenchantment and absolute hedonism, cry of resistance and song of heart, Badi captures the mood of the times. In line with the Black Lives Matter movement, the artist raises his voice without violence excess. Far away from controversies, away from the statues, he debunks prejudices and fights against ignorance through this great song of defiance.
At a time when identity debates firmly oppose extremes, the singer addresses the spirits questioning his origins. Exploring his Congolese roots and his daily life in Tintin’s country, Qui es-tu? encourages diversity: cultural, sexual, social – and freedom of speech. Through these subjects, Badi puts a strong stamp of identity on the whole album.
From Abidjan nights to Kinshasa avenues, from Brussels paving stones to Paris fashion shows, this rapper’s story comes from a crossroads between continents. Between Africa and the Western World, he evokes Virgil Abloh in an eponymous track; a track approved by the designer himself. Artistic director for Louis Vuitton, this man is an haute-couture symbol; a realm where Badi also spends some time. Indeed, since 2019, he manages the creations of the BANXV trademark, a design label inspired by the mythic Article XV, imaginary legislation that leads every Congolese to hustle in order to overcome failures of the government. Badi’s passion for clothes also takes shape in the chorus to Kitendi, an ode to the SAPE (Société des Ambianceurs et des Personnes Elégantes, literally the Society of Ambiance-Makers and Elegant People) and a tribute to its protestor ethos.
Signed by BBE Music (home to Roy Ayers, Madlib, J Dilla, Will.I.Am, Laurent Garnier & Carl Craig among others), Badi’s album crosses borders and maybe danced to without a dictionary. If French is the mother tongue of the tracks, the rhythms in Trouble Fête are indeed universal. Rapper, entrepreneur and contemporary speaker, Badi gives the best of himself here, in continuous flow and without lockdown.
Buy / Stream: https://orcd.co/pyramid
London band The Fantastics! return to BBE Music with instrumental jazz-dance masterpiece ‘Pyramid’, the second single to be taken from their forthcoming album ‘Take A Shot’.
‘Pyramid’ was born fully formed in the musical mind of the groups’ saxophonist & flautist Mark Norton – an ethereal instrumental that’s 50% contemplative spiritual introspection à la Pharoah Sanders / Coltrane /Airto Moreira, 50% prime Dingwall’s dance-floor fodder.
Organist Greg Boraman conjured up the intriguing ‘Oblique’, which is a fairly curious musical hybrid. If you had ever wondered what a collaboration between 70’s era Charles Earland, Dexter Wansel and Roni Size for a KPM library music album might sound like – here’s your answer! Fender Rhodes, Hammond, flute and spacy synthesizers ride across James Smith’s sterling drum work, and Sulene Flemings’ ghostly wordless background vocals mark this track out as a spacey jazz-funk oddity.
‘Liquor & Poker’ is a homage to 1950’s organ & sax rhythm & blues became a firm favourite in the bands live shows – it’s combination of old school swinging drums, honking tenor, gritty guitar and organ is always a crowd pleaser, but didn’t quite make it onto the bands forthcoming long player ‘Take A Shot’ – so is included here as a bonus throwback slice of the good groove.
Buy the album on Vinyl/CD/Digital formats: https://orcd.co/ambiance
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Buy / Stream the Ep here: https://orcd.co/hypersoul_medicine
Poet, singer, producer and DJ OVEOUS returns to BBE Music for ‘MEDICINE’, the final in a trio of three interconnected EPs on the label.
EPs ‘FIRE’, ‘HEART’ and ‘MEDICINE’ tell a musical tale that traces OVEOUS’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. The project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
‘MEDICINE’ represents the final chapter in our love story. As OVEOUS puts it, this EP “transitions from the utopian experience of riding that love phase, into the realities associated with healing after two people who create a deep connection have to depart and go down a new path in their lives. However, there is also celebration in healing. To me, the death of one relationship allows for the beauty and the birth of a new experience. It is a time of reflection. An opportunity to show gratitude for the experiences we shared with a loved one.”
Opening track ‘Get At Me’, collaboration with Thosh Collins, sees OVEOUS laying down sensuous vocals over a classic deep house groove. The lyrics have the artist “praising women with a new found confidence that I might not have had if I hadn’t found love for myself, after my ego had taken a few shots to the dome-piece.”
‘Echoes of You’ is a warm, touching song, full of love and appreciation. “It was my way of saying thank you and goodbye to someone really special” says OVEOUS.
Compact, bass and chord led final track ‘I’m Goodie’, is a clear announcement of hope and a reminder that we all can heal, if we let the MEDICINE from within us do its job.
Sharpening his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music.
Buy / Stream it here: https://orcd.co/raggaragga
Boddhi Satva joins forces with fellow African music heroes Preto Show, Stonebwoy & Tenny for Dancehall / Afrobeats heavy hitter ‘Ragga Ragga’. Enlisting a stellar trio of vocal talents for ‘Ragga Ragga’, Boddhi Satva lays down a potent Dancehall production, with his own unmistakable ‘Ancestral Soul’ sound in full effect. First up on the mic is Angolan music star Preto Show, who delivers a powerful opening in his native Portuguese. Previously collaborating with the likes of Gappy Ranks and Sizzla make Ghanaian crossover superstar Stonebwoy’s Dancehall credentials undeniable, and he doesn’t disappoint here with a typically assured performance. Delivering the song’s dynamite hook is rising Central African / Lebanese star Nefer Tenny, ensuring ‘Ragga Ragga’ stays firmly stuck in the memory. Issued on BBE Music’s new sister label Batakari, founded in 2020 by Peter Adarkwah and Boddhi Satva, ‘Ragga Ragga’ sums up the imprint’s musical aesthetic beautifully: deeply rooted, futuristic, inventive African sounds from across the continent and beyond.
Buy / Stream it here: https://orcd.co/motherfunkinrobots
Fresh from opening salvo ‘Happy Song’, dynamic duo MF Robots move another step closer to the release of new album ‘Break The Wall’ with ultra-funky second single ‘Mother Funkin’Robots’.
A red hot mid-tempo stepper with tonnes of attitude, the tough groove and insanely tight performance captured on ‘Mother Funkin’ Robots’ wouldn’t sound out of place on a vintage Tower Of Power or Maceo Parker LP.
Rocket propelled by tour-zade-force performances from Alex Montaque (clav/keys), NazAdamson (bass), Mark Beaney (guitar), BenTreacher (sax) and Jack Birchwood (trumpet) alongside Jan Kincaid’s rock-solid drumming and Dawn Joseph’s powerful vocal, ‘Mother Funkin’ Robots’ is the product of a wild jam session that took place in a boiling Brixton rehearsal room sometime in 2019.
Featuring a soul-stirring breakdown complete with soul-claps and presented with a special extended instrumental version for funk purists, ‘Mother Funkin’ Robots’ is to be unleashed on November 6th 2020.
Available on 2LP vinyl, CD and digital formats: https://orcd.co/victorchukwu
BBE Music presents Akalaka and The Power, a double helping of old-school Igbo highlife from one of the genre’s acknowledged masters, Victor Chukwu.
Highlife was the music that the Igbo people made their own after the horrors of the Biafran war; music that rebuilt a sense of pride, identity and dignity. Tabansi recording star ‘Uncle’ Victor Chukwu’s super-rare, almost un-Google-able albums Akalaka and The Power are now in your hands, issued back-to-back by BBE for the first time anywhere in four decades.
These sets were probably recorded around 1977-79 at the Tabansi Studios in Onitsha, with Chief Tabansi also mixing and mastering: a 100% homegrown Tabansi product. Victor worked with a bassist, a drummer, and some brass- although he also doubled himself on tenor sax and arranged much of these glorious sessions.
The songs have an inimitable feel-good quality: happy, dignified, proud, spiritual, everything except one composition in major key. Perhaps it’s no surprise that many 70s and 80s Igbo highlife group members are today gospel singers and musicians.
Seven killer Igbo grooves combined in this first ever reissue of two impossible-to-find Tabansi LPs back to back, based around the traditional Ogene 6/8 bell ‘clave’ and brassheavy, spiritual highlife
Buy / Stream: https://orcd.co/motherfunkinrobots Fresh from opening salvo ‘Happy Song’, dynamic duo MF Robots move another step closer to the release of new album ‘Break The Wall’ with ultra-funky second single ‘Mother Funkin’Robots’.
A red hot mid-tempo stepper with tonnes of attitude, the tough groove and insanely tight performance captured on ‘Mother Funkin’ Robots’ wouldn’t sound out of place on a vintage Tower Of Power or Maceo Parker LP.
Rocket propelled by tour-zade-force performances from Alex Montaque (clav/keys), NazAdamson (bass), Mark Beaney (guitar), BenTreacher (sax) and Jack Birchwood (trumpet) alongside Jan Kincaid’s rock-solid drumming and Dawn Joseph’s powerful vocal, ‘Mother Funkin’ Robots’ is the product of a wild jam session that took place in a boiling Brixton rehearsal room sometime in 2019.
Featuring a soul-stirring breakdown complete with soul-claps and presented with a special extended instrumental version for funk purists, ‘Mother Funkin’ Robots’ is to be unleashed on November 6th 2020.
Buy / Stream it here: https://orcd.co/hypersoul_medicine
Poet, singer, producer and DJ OVEOUS returns to BBE Music for ‘MEDICINE’, the final in a trio of three interconnected EPs on the label.
EPs ‘FIRE’, ‘HEART’ and ‘MEDICINE’ tell a musical tale that traces OVEOUS’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. The project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
‘MEDICINE’ represents the final chapter in our love story. As OVEOUS puts it, this EP “transitions from the utopian experience of riding that love phase, into the realities associated with healing after two people who create a deep connection have to depart and go down a new path in their lives. However, there is also celebration in healing. To me, the death of one relationship allows for the beauty and the birth of a new experience. It is a time of reflection. An opportunity to show gratitude for the experiences we shared with a loved one.”
Opening track ‘Get At Me’, collaboration with Thosh Collins, sees OVEOUS laying down sensuous vocals over a classic deep house groove. The lyrics have the artist “praising women with a new found confidence that I might not have had if I hadn’t found love for myself, after my ego had taken a few shots to the dome-piece.”
‘Echoes of You’ is a warm, touching song, full of love and appreciation. “It was my way of saying thank you and goodbye to someone really special” says OVEOUS.
Compact, bass and chord led final track ‘I’m Goodie’, is a clear announcement of hope and a reminder that we all can heal, if we let the MEDICINE from within us do its job.
Sharpening his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music. credits
Buy / Stream the album: https://orcd.co/baditroublefete
Released on Batakari, a brand new collaborative imprint from Boddhi Satva and BBE Music founder Peter Adarkwah, “Belgican” (Belgian / African) vocalist Badi presents his album Trouble-Fête (Kill-joy / Spoilsport – literally ‘party disruptor’).
Trouble Fête is produced by Boddhi Satva, Afro-House pioneer and inventor of Ancestral Soul, an artist who cemented his formidable reputation through collaborations with Bilal, Omar and Oumou Sangaré, to name but a few. While Boddhi Satva’s beats invite the audience to dance ‘til the end of the night, Badi’s words stir the conscience and upset certainties. A facetious dandy, Badi questions the World and jostles with trends.
This Belgian speaks his mind. The kind who sings what others whisper, who says loudly the proletariat realities, Badi smiles but is not wrong. Over lush melodies, his lyrics underline the deficiencies of a failing society. This is perfectly evidenced by Mauvaise Ambiance, the opening opus on an album driven by extra-large convictions. Between ultimate disenchantment and absolute hedonism, cry of resistance and song of heart, Badi captures the mood of the times. In line with the Black Lives Matter movement, the artist raises his voice without violence excess. Far away from controversies, away from the statues, he debunks prejudices and fights against ignorance through this great song of defiance.
At a time when identity debates firmly oppose extremes, the singer addresses the spirits questioning his origins. Exploring his Congolese roots and his daily life in Tintin’s country, Qui es-tu? encourages diversity: cultural, sexual, social – and freedom of speech. Through these subjects, Badi puts a strong stamp of identity on the whole album.
From Abidjan nights to Kinshasa avenues, from Brussels paving stones to Paris fashion shows, this rapper’s story comes from a crossroads between continents. Between Africa and the Western World, he evokes Virgil Abloh in an eponymous track; a track approved by the designer himself. Artistic director for Louis Vuitton, this man is an haute-couture symbol; a realm where Badi also spends some time. Indeed, since 2019, he manages the creations of the BANXV trademark, a design label inspired by the mythic Article XV, imaginary legislation that leads every Congolese to hustle in order to overcome failures of the government. Badi’s passion for clothes also takes shape in the chorus to Kitendi, an ode to the SAPE (Société des Ambianceurs et des Personnes Elégantes, literally the Society of Ambiance-Makers and Elegant People) and a tribute to its protestor ethos.
Signed by BBE Music (home to Roy Ayers, Madlib, J Dilla, Will.I.Am, Laurent Garnier & Carl Craig among others), Badi’s album crosses borders and maybe danced to without a dictionary. If French is the mother tongue of the tracks, the rhythms in Trouble Fête are indeed universal. Rapper, entrepreneur and contemporary speaker, Badi gives the best of himself here, in continuous flow and without lockdown.
Buy on vinyl, CD, digital formats, or stream the album: orcd.co/ambiance
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Buy / Stream the album here: https://orcd.co/neosoulsessions
Long-time ambassador of Black Music in the UK, club and radio DJ Ronnie Herel presents Neo Soul Sessions Vol. 1, his debut compilation for BBE Music.
Cutting his teeth on the 80’s and 90s club scene in London, MOBO nominated DJ and producer Ronnie Herel has been a powerful champion of high-quality soulful music in the UK for over 3 decades. One of BBC Radio 1Xtra’s first signings, Ronnie went on to scout talent for TV show‚ The Voice’ before finding a new home as head of music at internationally renowned station Mi Soul.
Offering up a meticulously selected selection of hip-hop soul gems, Ronnie Herel’s Neo Soul Sessions Vol. 1 shines a light on a number of incredible artists, singers, songwriters, musicians and producers who find themselves in the netherworld between ‘underground’ and ‘overground’: too accomplished to fall into the former category, yet not ‘mainstream’ enough to fall into the latter. “The fact is” says Herel, “there’s a whole world of smokin’ grooves out there that most of the time gets overlooked for radio playlists; the powers-that- be opting for the more manufactured, purpose-built mainstream record.”
Featuring UK talents Omar, Etta Bond, Children of Zeus and Terri Walker alongside US heroes Foreign Exchange, Phonte, Erro and the legendary DJ Jazzy Jeff, this collection delivers the very best in contemporary soul from both sides of the Atlantic.
“The words, thoughts, production, love and hard work these artists put into their music is clear for you to hear. Hopefully you will have made some new discoveries and will continue explore their music beyond this compilation. I hope there will be many more volumes to come, but we need your support and the artists need your support for that to happen, so tell everyone about this, and enjoy!” – Ronnie Herel
Buy / Stream the album here: https://orcd.co/imageanation
Philadelphia soul artist Valvin “V” Roane makes a welcome return to BBE Music with new album ‘Image A Nation’, his first full-length project on the label since 2005 underground classic ‘The Revelation Is Now Televised’.
Independently releasing several albums and EPs in the almost 15 years since his BBE debut, we are delighted to join forces with V once again for another timeless soul classic. Working with such luminaries as Justin Timberlake, Musiq Soulchild and Will Smith during a storied career, V also toured for many years as backing vocalist for Jill Scott.
Created with trailblazers and teachers like Quincy Jones and Marvin Gaye firmly in mind, ‘Image A Nation’ paints a vivid picture of a people and culture on the move.
“Synchronicity played a major factor in the themes and tone of both lyrics and music. We found ourselves telling a magical story of life as a voyage or trip, learning to avoid the pitfalls- forever reaching to find that ”utopia” but being tested as you go through a maze of obstacles. This was real life to a lot of us so it was easy to create from that theme.”
A collaborative effort from inception onwards, the core writing team behind ‘Image A Nation’comprised his production partners Jontae Slade, Andre Capers and Philly music scene stalwart (also occasional Questlove hype man) Yameen Allworld working closely alongside V.
“Every day for a month when I arrived to the studio, Yameen or Jontae would play me a new track they just did that day. The music was so good and perfectly in the realm I was looking for, that we would write and record it on the spot. A lot of this album happened like that.”
Once the songs had been sketched out, Wiz Khalifa and Jay Z’s former tour drummer Eric “Boots” Greene adroitly manifested V’s ambitious concept for the album from behind the studio desk, guiding the final arrangements, providing live instrumentation and lovingly refining ‘Image A Nation’ into something truly ageless.
In the grand tradition of social commentary personified by Marvin Gaye and Curtis Mayfield, songs like “Hell No Wont Go”, “Power To The People” and “Into The Light” offer the comfort of solidarity through dark and difficult times. Manifestations of hope and positive affirmations abound in “We Shall Overcome”, “Love Conquers All” and title track “Image A Nation”, adding up to an album which both acknowledges the struggles of yesterday and today, while constantly communicating a sense of openness and optimism for the future.
Music by Valvin Roane II and Yameen Allworld. Lyrics by Valvin Roane II and Yameen Allworld. Produced by Valvin Roane II and Yameen Allworld. All vocals by Valvin Roane II. Music recorded at JayWar Nix studio. Vocals recorded at The Grand Room studio and engineered by Leon “Miyachi” Pearl. Mixing, additional instrumentation and additional vocal arrangement recorded at Breed studio by Eric “boots” Greene. Publishing by Valvin Roane Music ASCAP/BBE Music, Jeffrey Nix ASCAP.
Buy/Stream it here: https://orcd.co/victorchukwu
BBE Music presents Akalaka and The Power, a double helping of old-school Igbo highlife from one of the genre’s acknowledged masters, Victor Chukwu.
Highlife was the music that the Igbo people made their own after the horrors of the Biafran war; music that rebuilt a sense of pride, identity and dignity. Tabansi recording star ‘Uncle’ Victor Chukwu’s super-rare, almost un-Google-able albums Akalaka and The Power are now in your hands, issued back-to-back by BBE for the first time anywhere in four decades.
These sets were probably recorded around 1977-79 at the Tabansi Studios in Onitsha, with Chief Tabansi also mixing and mastering: a 100% homegrown Tabansi product. Victor worked with a bassist, a drummer, and some brass- although he also doubled himself on tenor sax and arranged much of these glorious sessions.
The songs have an inimitable feel-good quality: happy, dignified, proud, spiritual, everything except one composition in major key. Perhaps it’s no surprise that many 70s and 80s Igbo highlife group members are today gospel singers and musicians.
Seven killer Igbo grooves combined in this first ever reissue of two impossible-to-find Tabansi LPs back to back, based around the traditional Ogene 6/8 bell ‘clave’ and brass-heavy, spiritual highlife.
Buy / Stream it here: https://orcd.co/happysongremixes
Following the release of ‘Happy Song’, the first single from forthcoming album ‘Break The Wall’, MF Robots reveal the full extended version of the song alongside remixes from Kenny Dope, Kaidi Tatham and Daz-I-Kue.
It’s only right that Kenny Dope should be the first producer to remix Jan Kincaid and Dawn Joseph’s new MF Robots project, considering the trio’s shared musical history. Kenny Dope began reworking Jan’s ‘Brand New Heavies’ material back in the early 90’s as one half of Masters At Work, helping the band reach club-land over and over again with a series of iconic remixes, recorded during the golden era of MAW’s output.
It’s no surprise then that there’s more than a hint of that special, Latin sunshine-infused mid-90’s House sound in Kenny’s rework of Happy Song, which showcases Dawn’s impeccable vocals over an infectious rhythm track and ultra-funky horn stabs. An instrumental version of Kenny’s mix is also included for the House purists, as well as the full, extended original version of Happy Song, packed with tight musicianship and more than its fair share of great grooves.
Pioneers of the UK Broken Beat movement and contributors to its most emblematic group, Bugz In The Attic, it seems almost inconceivable that Kaidi Tatham & Daz-I-Kue have never actually worked on a remix together before. As strange as it may sound, it’s true, and their powerhouse rework of ‘Happy Song’ is most definitely worth the wait.
About MF Robots:
Meeting in 2013 while recording and performing with one of the UK’s most commercially successful Acid Jazz bands, legendary UK drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The album was so well received that the duo soon morphed into a band as they found themselves in-demand at venues and festivals all over Europe.
Forthcoming long player ‘Break The Wall’ represents a new benchmark for Jan and Dawn, reflecting the MF Robots project coalescing and maturing while fine-tuning their material, both on the road and in the studio.
Pre-order / Stream the album: https://orcd.co/neosoulsessions
Long-time ambassador of Urban Music in the UK, club and radio DJ Ronnie Herel presents Neo Soul Sessions Vol. 1, his debut compilation for BBE Music.
Cutting his teeth on the 80’s and 90s club scene in London, MOBO nominated DJ and producer Ronnie Herel has been a powerful champion of high-quality soulful music in the UK for over 3 decades. One of BBC Radio 1Xtra’s first signings, Ronnie went on to scout talent for TV show‚ The Voice’ before finding a new home as head of music at internationally renowned station Mi Soul.
Offering up a meticulously selected selection of hip-hop soul gems, Ronnie Herel’s Neo Soul Sessions Vol. 1 shines a light on a number of incredible artists, singers, songwriters, musicians and producers who find themselves in the netherworld between ‘underground’ and ‘overground’: too accomplished to fall into the former category, yet not ‘mainstream’ enough to fall into the latter. “The fact is” says Herel, “there’s a whole world of smokin’ grooves out there that most of the time gets overlooked for radio playlists; the powers-that- be opting for the more manufactured, purpose-built mainstream record.”
Featuring UK talents Omar, Etta Bond, Children of Zeus and Terri Walker alongside US heroes Foreign Exchange, Phonte, Erro and the legendary DJ Jazzy Jeff, this collection delivers the very best in contemporary soul from both sides of the Atlantic.
“The words, thoughts, production, love and hard work these artists put into their music is clear for you to hear. Hopefully you will have made some new discoveries and will continue explore their music beyond this compilation. I hope there will be many more volumes to come, but we need your support and the artists need your support for that to happen, so tell everyone about this, and enjoy!” – Ronnie Herel
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Buy / Stream The Album: https://orcd.co/imageanation
Philadelphia soul artist Valvin “V” Roane makes a welcome return to BBE Music with new album ‘Image A Nation’, his first full-length project on the label since 2005 underground classic ‘The Revelation Is Now Televised’.
Independently releasing several albums and EPs in the almost 15 years since his BBE debut, we are delighted to join forces with V once again for another timeless soul classic. Working with such luminaries as Justin Timberlake, Musiq Soulchild and Will Smith during a storied career, V also toured for many years as backing vocalist for Jill Scott.
Created with trailblazers and teachers like Quincy Jones and Marvin Gaye firmly in mind, ‘Image A Nation’ paints a vivid picture of a people and culture on the move.
“Synchronicity played a major factor in the themes and tone of both lyrics and music. We found ourselves telling a magical story of life as a voyage or trip, learning to avoid the pitfalls- forever reaching to find that ”utopia” but being tested as you go through a maze of obstacles. This was real life to a lot of us so it was easy to create from that theme.”
A collaborative effort from inception onwards, the core writing team behind ‘Image A Nation’comprised his production partners Jontae Slade, Andre Capers and Philly music scene stalwart (also occasional Questlove hype man) Yameen Allworld working closely alongside V.
“Every day for a month when I arrived to the studio, Yameen or Jontae would play me a new track they just did that day. The music was so good and perfectly in the realm I was looking for, that we would write and record it on the spot. A lot of this album happened like that.”
Once the songs had been sketched out, Wiz Khalifa and Jay Z’s former tour drummer Eric “Boots” Greene adroitly manifested V’s ambitious concept for the album from behind the studio desk, guiding the final arrangements, providing live instrumentation and lovingly refining ‘Image A Nation’ into something truly ageless.
In the grand tradition of social commentary personified by Marvin Gaye and Curtis Mayfield, songs like “Hell No Wont Go”, “Power To The People” and “Into The Light” offer the comfort of solidarity through dark and difficult times. Manifestations of hope and positive affirmations abound in “We Shall Overcome”, “Love Conquers All” and title track “Image A Nation”, adding up to an album which both acknowledges the struggles of yesterday and today, while constantly communicating a sense of openness and optimism for the future.
Buy / Stream it here: https://orcd.co/rudemovementsremixes
Production heroes Moodymann and Kenny Dope revisit one of electronic music’s foundation records, Rude Movements by SunPalace, with brand new remixes issued on BBE Music’s vinyl-only offshoot imprint ALIM.
Presented on strictly limited 7” vinyl, Moodymann and Kenny Dope pay tribute to a New York Loft classic first made famous by David Mancuso, which strongly influenced both artists early in their careers, as well as helping to shape the early House Music movement in the hands of Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit among many others.
Two of the modern electronic scene’s most consistent innovators and elevators, Moodymann and Kenny Dope were selected by SunPalace producer Mike Collins himself to rework the track. Sadly, Mike passed away in late 2018 before either version was completed, but as a fan of both artists, we’re sure Mike would have been excited by both of these loving and reverent revisions to his iconic work.
Recorded in 1981s at Mike’s home studio in London, ‘Rude Movements’ was originally released as the B-Side to a track called ‘Winning’. A true Brit-funk oddity, the track’s improvised nature and lack of vocal hooks initially consigned it to obscurity, until its pristine sonics and irrepressible groove caught the ear of David Mancuso and he presented it at his already influential Loft Party.
Moodymann’s remix retains the ‘jammed’ feel of Rude Movements, introducing stellar flute, sax and piano solos over the groove, while remaining utterly faithful to the original vibe.
Kenny Dope’s ‘Dancefloor Powder’ version adds a vintage Afro-Latin drum break into the mix, while showcasing the original’s epic synth solo.
A deluxe double vinyl package containing extended versions of these remixes, plus several more, is planned for release on BBE Music in 2021. ...
Buy / Stream it here: https://orcd.co/rudemovementsremixes
Production heroes Moodymann and Kenny Dope revisit one of electronic music’s foundation records, Rude Movements by SunPalace, with brand new remixes issued on BBE Music’s vinyl-only offshoot imprint ALIM.
Presented on strictly limited 7” vinyl, Moodymann and Kenny Dope pay tribute to a New York Loft classic first made famous by David Mancuso, which strongly influenced both artists early in their careers, as well as helping to shape the early House Music movement in the hands of Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit among many others.
Two of the modern electronic scene’s most consistent innovators and elevators, Moodymann and Kenny Dope were selected by SunPalace producer Mike Collins himself to rework the track. Sadly, Mike passed away in late 2018 before either version was completed, but as a fan of both artists, we’re sure Mike would have been excited by both of these loving and reverent revisions to his iconic work.
Recorded in 1981s at Mike’s home studio in London, ‘Rude Movements’ was originally released as the B-Side to a track called ‘Winning’. A true Brit-funk oddity, the track’s improvised nature and lack of vocal hooks initially consigned it to obscurity, until its pristine sonics and irrepressible groove caught the ear of David Mancuso and he presented it at his already influential Loft Party.
Moodymann’s remix retains the ‘jammed’ feel of Rude Movements, introducing stellar flute, sax and piano solos over the groove, while remaining utterly faithful to the original vibe.
Kenny Dope’s ‘Dancefloor Powder’ version adds a vintage Afro-Latin drum break into the mix, while showcasing the original’s epic synth solo.
A deluxe double vinyl package containing extended versions of these remixes, plus several more, is planned for release on BBE Music in 2021. ...
Buy / Stream it here: https://orcd.co/takeashot
Never really comfortable with tightly defined and rigid musical pigeonholes, The Fantastics! have always been pushing the boundaries and honing their musical eclecticism. Now the London based outfit return, joining forces with BBE Music for new single ‘Take A Shot’ featuring their outstanding vocalist Sulene Fleming, plus remixes from House music hero Richard Earnshaw.
Taken from the band’s forthcoming third studio album, also titled ‘Take A Shot’, this lead single serves up a bold taste of what’s to come: timeless songwriting, masterful musicianship, powerhouse vocals and a punchy, horn-laden arrangement. Richard Earnshaw’s ‘Little Big’ remix drives the song deep into booty-shaking Disco-House territory, showcasing Sulene’s vocals front and centre over a soul-satisfying groove. Headed up by organist & pianist, DJ, radio presenter and former Freestyle Records head honcho Greg Boraman, The Fantastics! current line-up comprises bassist Raydn Hunter, drummer James Smith, saxophonist / flautist Mark Norton and new guitarist James Byron alongside immeasurably talented singer Sulene Fleming.
Performances at The Jazz Café and Pizza Express Jazz Club in London plus gigs and festivals across Europe have seen The Fantastics! share the stage with Larry Graham, Reuben Wilson and Bernard ‘Pretty’ Purdie among other greats since their official formation in 2007. Vocalist Sulene Fleming has recently finished a stint as lead vocalist for The Brand New Heavies, as well as collaborations with Incognito and Leroy Hutson.
All that live performance pedigree is captured brilliantly on ‘Take A Shot’, a warm and detailed recording that documents a tight, well-rehearsed band having fun together and inspiring one another in the studio.
Ten track album ‘Take A Shot’ follows later this year on BBE.
Buy / Stream it here: https://orcd.co/underwaterdreaming
Transatlantic duo Sons of the Sun make their BBE debut with warm and soulful hip hop single ‘Underwater Dreaming,’ taken from their forthcoming self-titled album.
A tender, sensual celebration of connection and desire, ‘Underwater Dreaming’ evokes the sounds of contemporary R&B, fused with Southeast London’s signature jazz vibes. Their unique aesthetic stands out- the entire album is recorded with honest, organic musicianship, an homage to the much loved old skool sample sound, reflected back through multi-instrumentation. Sons of the Sun is a collaboration between American singer-songwriter JTronius and British producer Maverick Quest, featuring an inspired selection of luminary guests and musicians. Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas andSouth East London to create their shared vision for the project. Remarkably, the duo have yet to meet in person.
A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, songwriter and entrepreneur. Self-dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films.
Genre-blending record producer and multi-instrumentalist Maverick Quest is a coveted artist with 20 years of experience in the music industry. He grew up immersed in the aesthetic of hip hop, but in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. Maverick Quest has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few and is firmly rooted in the epicentre of the burgeoning South East London jazz movement.
Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy-awarded studio The Carvery, ‘Underwater Dreaming’ features celebrated musicians such as Scottish Group ‘The Brass Cats’, Washington DC’s Reginald Payne (aka Bass Negus), with Philly neo-soul stalwart and Lauryn Hill, Bilal collaborator Dai Miyazaki. Accompanied by an official video by Nathalie Gordon, the debut single ‘Underwater Dreaming’ from Sons of the Sun offers an enticing first taste of what’s to come from this exciting new musical partnership.
Buy / Stream it here: https://orcd.co/happysongremixes
Following the release of ‘Happy Song’, the first single from forthcoming album ‘Break The Wall’, MF Robots reveal the full extended version of the song alongside remixes from Kenny Dope, Kaidi Tatham and Daz-I-Kue.
It’s only right that Kenny Dope should be the first producer to remix Jan Kincaid and Dawn Joseph’s new MF Robots project, considering the trio’s shared musical history. Kenny Dope began reworking Jan’s ‘Brand New Heavies’ material back in the early 90’s as one half of Masters At Work, helping the band reach club-land over and over again with a series of iconic remixes, recorded during the golden era of MAW’s output.
It’s no surprise then that there’s more than a hint of that special, Latin sunshine-infused mid-90’s House sound in Kenny’s rework of Happy Song, which showcases Dawn’s impeccable vocals over an infectious rhythm track and ultra-funky horn stabs. An instrumental version of Kenny’s mix is also included for the House purists, as well as the full, extended original version of Happy Song, packed with tight musicianship and more than its fair share of great grooves.
Pioneers of the UK Broken Beat movement and contributors to its most emblematic group, Bugz In The Attic, it seems almost inconceivable that Kaidi Tatham & Daz-I-Kue have never actually worked on a remix together before. As strange as it may sound, it’s true, and their powerhouse rework of ‘Happy Song’ is most definitely worth the wait.
About MF Robots:
Meeting in 2013 while recording and performing with one of the UK’s most commercially successful Acid Jazz bands, legendary UK drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The album was so well received that the duo soon morphed into a band as they found themselves in-demand at venues and festivals all over Europe.
Forthcoming long player ‘Break The Wall’ represents a new benchmark for Jan and Dawn, reflecting the MF Robots project coalescing and maturing while fine-tuning their material, both on the road and in the studio.
Buy / Stream the ep here: https://orcd.co/alltheway
David Marston, Rob Paine, & vocalist Lady Alma make the Jamaican / Philadelphia link up for ‘All The Way Far Away’, featuring remixes from Toribio and Troop 493
All The Way Far Away is a mellow dance groove with glistening keys, beautiful synths and a light driving beat, all which meld together to support the lush and sentimental vocals of Lady Alma. Producers Rob Paine and David Marston first conceptualized the track on a fall afternoon in the city of Brotherly Love. The pair met through the music scene in Philadelphia and quickly bonded over a shared love of reggae, dance music, and DJing. Marston sent Paine a rough instrumental version of what would become All The Way Far Away. Paine refined and further developed the instrumental, and then invited indisputable legend of Philadelphia’s house music scene, Lady Alma, to lend her writing and vocal talent to the song. In her powerful lyrics, Lady Alma reminisces over an unfor
gettable relationship, recounting an “endless love affair” between two people who have developed an inextricable connection. She reflects on the powerful and bittersweet memory of lost love. All The Way Far Away is a poignant song that highlights the significance of gratitude and remembrance in navigating intricacies of a storied romance.
The release package also includes a club rendition by Paine and Marston, a breaks remix from Troop 493 (Jon Gunshor & Paine), as well as a floor-stomping, funk-heavy club remix from Brooklyn’s Toribio. The track also features wistful trumpet lines recorded by Aquiles Navarro of Irreversible Entanglements.
Buy on vinyl, CD, digital formats, or stream the album: https://orcd.co/ambiance
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Buy / Stream here: https://orcd.co/mauvaiseambiance
Inspired by the state of our contemporary societies, Belgican (Belgian / African) rapper Badi continues his journey toward the release of album Trouble Fête with this tragi-comic and catchy new track, Mauvaise Ambiance (Bad Atmosphere), produced by Boddhi Satva.
Mauvaise Ambiance gets straight to the point with powerful Afro-infused electronic beats and dark strings, over which Badi’s intense lyrics paint a dystopian picture, deftly weaving past and present together in a damning indictment of cultural relations in 2020: “This is Belgica, land of beer and NVA, Severed hands and saveloys, Responsible for Lumumba’s death…”
Imbued with Belgian-style surrealism, the video for Mauvaise Ambiance pays tribute to one of its greatest masters, René Magritte.
This video was directed in collaboration with the talented video artist 13, features the great twin dancers Les Mybalés and shot at Café Congo, a key alternative venue in Brussels.
Mauvaise Ambiance is released on Batakari, a brand new collaborative imprint from Boddhi Satva and BBE Music founder Peter Adarkwah. The album Trouble Fête (Kill-joy / Spoilsport – literally ‘party disruptor’) will be available early in October 2020.
Buy / Stream the EP here: https://orcd.co/hypersoulheart
Poet, singer, producer and DJ OVEOUS teams up with BBE Music for ‘HEART’, the second in a series of three EPs on the label, titled FIRE, HEART and MEDICINE.
This trio of EPs on BBE tells a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
Second EP ‘Heart’ revolves around feelings of being “connected to someone special in your life and riding that wave we call the ‘honeymoon phase’.” Opening track ‘APPLZ’ is a lighter, bouncier take on ‘Rotten APPLZ’ the closing track from previous EP ‘Fire’. Featuring Aussie vocalist and multi-instrumentalist Julian Steel, ‘APPLZ’ is simply an ebullient celebration of life and love, with a truly magnetic hook.
Featuring Seven Davis Jr, ‘3 Seasons’ was recorded in New York, with OVEOUS laying down the drums and writing the song while Seven Davis Jr added soulful keys. Both artists voice the same verse in their own unique styles, making this collaboration in the truest sense.
Co-produced by Amin Payne aka Teymori, future-soul cut ‘Calculus’ closes ‘HEART’ with a touching tribute to love over an ultra-funky, disco infused groove.
Developing his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music. In 2018 OVEOUS and long time collaborator QVLN, released ‘Queimar’, a dance hit lauded by Traxsource as one of their top tracks of the year.
Buy / stream here: https://orcd.co/neosoulsessions
Long-time ambassador of Black Music in the UK, club and radio DJ Ronnie Herel presents Neo Soul Sessions Vol. 1, his debut compilation for BBE Music.
Cutting his teeth on the 80’s and 90s club scene in London, MOBO nominated DJ and producer Ronnie Herel has been a powerful champion of high-quality soulful music in the UK for over 3 decades. One of BBC Radio 1Xtra’s first signings, Ronnie went on to scout talent for TV show‚ The Voice’ before finding a new home as head of music at internationally renowned station Mi Soul.
Offering up a meticulously selected selection of hip-hop soul gems, Ronnie Herel’s Neo Soul Sessions Vol. 1 shines a light on a number of incredible artists, singers, songwriters, musicians and producers who find themselves in the netherworld between ‘underground’ and ‘overground’: too accomplished to fall into the former category, yet not ‘mainstream’ enough to fall into the latter. “The fact is” says Herel, “there’s a whole world of smokin’ grooves out there that most of the time gets overlooked for radio playlists; the powers-that- be opting for the more manufactured, purpose-built mainstream record.”
Featuring UK talents Omar, Etta Bond, Children of Zeus and Terri Walker alongside US heroes Foreign Exchange, Phonte, Erro and the legendary DJ Jazzy Jeff, this collection delivers the very best in contemporary soul from both sides of the Atlantic.
“The words, thoughts, production, love and hard work these artists put into their music is clear for you to hear. Hopefully, you will have made some new discoveries and will continue to explore their music beyond this compilation. I hope there will be many more volumes to come, but we need your support and the artists need your support for that to happen, so tell everyone about this, and enjoy!” – Ronnie Herel
Buy / Stream here: https://orcd.co/happysongremixes
Following the release of ‘Happy Song’, the first single from forthcoming album ‘Break The Wall’, MF Robots reveal the full extended version of the song alongside remixes from Kenny Dope, Kaidi Tatham and Daz-I-Kue.
It’s only right that Kenny Dope should be the first producer to remix Jan Kincaid and Dawn Joseph’s new MF Robots project, considering the trio’s shared musical history. Kenny Dope began reworking Jan’s ‘Brand New Heavies’ material back in the early 90’s as one half of Masters At Work, helping the band reach club-land over and over again with a series of iconic remixes, recorded during the golden era of MAW’s output.
It’s no surprise then that there’s more than a hint of that special, Latin sunshine-infused mid-90’s House sound in Kenny’s rework of Happy Song, which showcases Dawn’s impeccable vocals over an infectious rhythm track and ultra-funky horn stabs. An instrumental version of Kenny’s mix is also included for the House purists, as well as the full, extended original version of Happy Song, packed with tight musicianship and more than its fair share of great grooves.
Pioneers of the UK Broken Beat movement and contributors to its most emblematic group, Bugz In The Attic, it seems almost inconceivable that Kaidi Tatham & Daz-I-Kue have never actually worked on a remix together before. As strange as it may sound, it’s true, and their powerhouse rework of ‘Happy Song’ is most definitely worth the wait.
About MF Robots:
Meeting in 2013 while recording and performing with one of the UK’s most commercially successful Acid Jazz bands, legendary UK drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The album was so well received that the duo soon morphed into a band as they found themselves in-demand at venues and festivals all over Europe.
Forthcoming long player ‘Break The Wall’ represents a new benchmark for Jan and Dawn, reflecting the MF Robots project coalescing and maturing while fine-tuning their material, both on the road and in the studio.
Buy / Stream: https://orcd.co/happysongremixes
Following the release of ‘Happy Song’, the first single from forthcoming album ‘Break The Wall’, MF Robots reveal the full extended version of the song alongside remixes from Kenny Dope, Kaidi Tatham and Daz-I-Kue.
It’s only right that Kenny Dope should be the first producer to remix Jan Kincaid and Dawn Joseph’s new MF Robots project, considering the trio’s shared musical history. Kenny Dope began reworking Jan’s ‘Brand New Heavies’ material back in the early 90’s as one half of Masters At Work, helping the band reach club-land over and over again with a series of iconic remixes, recorded during the golden era of MAW’s output.
It’s no surprise then that there’s more than a hint of that special, Latin sunshine-infused mid-90’s House sound in Kenny’s rework of Happy Song, which showcases Dawn’s impeccable vocals over an infectious rhythm track and ultra-funky horn stabs. An instrumental version of Kenny’s mix is also included for the House purists, as well as the full, extended original version of Happy Song, packed with tight musicianship and more than its fair share of great grooves.
Pioneers of the UK Broken Beat movement and contributors to its most emblematic group, Bugz In The Attic, it seems almost inconceivable that Kaidi Tatham & Daz-I-Kue have never actually worked on a remix together before. As strange as it may sound, it’s true, and their powerhouse rework of ‘Happy Song’ is most definitely worth the wait.
Pre-order / Pre-save the album: https://orcd.co/imageanation
Philadelphia soul artist Valvin “V” Roane makes a welcome return to BBE Music with new album ‘Image A Nation’, his first full-length project on the label since 2005 underground classic ‘The Revelation Is Now Televised’.
Independently releasing several albums and EPs in the almost 15 years since his BBE debut, we are delighted to join forces with V once again for another timeless soul classic. Working with such luminaries as Justin Timberlake, Musiq Soulchild and Will Smith during a storied career, V also toured for many years as backing vocalist for Jill Scott.
Created with trailblazers and teachers like Quincy Jones and Marvin Gaye firmly in mind, ‘Image A Nation’ paints a vivid picture of a people and culture on the move.
“Synchronicity played a major factor in the themes and tone of both lyrics and music. We found ourselves telling a magical story of life as a voyage or trip, learning to avoid the pitfalls- forever reaching to find that ”utopia” but being tested as you go through a maze of obstacles. This was real life to a lot of us so it was easy to create from that theme.”
A collaborative effort from inception onwards, the core writing team behind ‘Image A Nation’comprised his production partners Jontae Slade, Andre Capers and Philly music scene stalwart (also occasional Questlove hype man) Yameen Allworld working closely alongside V.
“Every day for a month when I arrived to the studio, Yameen or Jontae would play me a new track they just did that day. The music was so good and perfectly in the realm I was looking for, that we would write and record it on the spot. A lot of this album happened like that.”
Once the songs had been sketched out, Wiz Khalifa and Jay Z’s former tour drummer Eric “Boots” Greene adroitly manifested V’s ambitious concept for the album from behind the studio desk, guiding the final arrangements, providing live instrumentation and lovingly refining ‘Image A Nation’ into something truly ageless.
In the grand tradition of social commentary personified by Marvin Gaye and Curtis Mayfield, songs like “Hell No Wont Go”, “Power To The People” and “Into The Light” offer the comfort of solidarity through dark and difficult times. Manifestations of hope and positive affirmations abound in “We Shall Overcome”, “Love Conquers All” and title track “Image A Nation”, adding up to an album which both acknowledges the struggles of yesterday and today, while constantly communicating a sense of openness and optimism for the future.
Buy / Stream the EP here: https://orcd.co/alltheway
Jamaican producer affiliated with Soul Clap’s ‘Crew Love’ collective, David Marston joins forces with Philadelphia artists Lady Alma and DJ Rob Paine for ‘All The Way Far Away’ on BBE Music, featuring remixes from Toribio and Troop 493.
All The Way Far Away is a mellow dance groove with glistening keys, beautiful synths and a light driving beat, all which meld together to support the lush and sentimental vocals of Lady Alma. Producers Rob Paine and David Marston first conceptualized the track on a fall afternoon in the city of Brotherly Love. The pair met through the music scene in Philadelphia and quickly bonded over a shared love of reggae, dance music, and DJing. Marston sent Paine a rough instrumental version of what would become All The Way Far Away. Paine refined and further developed the instrumental, and then invited indisputable legend of Philadelphia’s house music scene, Lady Alma, to lend her writing and vocal talent to the song. In her powerful lyrics, Lady Alma reminisces over an unfor
gettable relationship, recounting an “endless love affair” between two people who have developed an inextricable connection. She reflects on the powerful and bittersweet memory of lost love. All The Way Far Away is a poignant song that highlights the significance of gratitude and remembrance in navigating intricacies of a storied romance.
The release package also includes a club rendition by Paine and Marston, a breaks remix from Troop 493 (Jon Gunshor & Paine), as well as a floor-stomping, funk-heavy club remix from Brooklyn’s Toribio. The track also features wistful trumpet lines recorded by Aquiles Navarro of Irreversible Entanglements.
Buy / Stream the album here: https://orcd.co/takeashot
Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa.
Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi- faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa.
From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable.
All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self- financed indie label with an equally tiny promo budget: that’s what great jazz is all about.
Buy / Stream the EP here: https://orcd.co/takeashot
Never really comfortable with tightly defined and rigid musical pigeonholes, The Fantastics! have always been pushing the boundaries and honing their musical eclecticism. Now the London based outfit return, joining forces with BBE Music for new single ‘Take A Shot’ featuring their outstanding vocalist Sulene Fleming, plus remixes from House music hero Richard Earnshaw.
Taken from the band’s forthcoming third studio album, also titled ‘Take A Shot’, this lead single serves up a bold taste of what’s to come: timeless songwriting, masterful musicianship, powerhouse vocals and a punchy, horn-laden arrangement. Richard Earnshaw’s ‘Little Big’ remix drives the song deep into booty-shaking Disco-House territory, showcasing Sulene’s vocals front and centre over a soul-satisfying groove. Headed up by organist & pianist, DJ, radio presenter and former Freestyle Records head honcho Greg Boraman, The Fantastics! current line-up comprises bassist Raydn Hunter, drummer James Smith, saxophonist / flautist Mark Norton and new guitarist James Byron alongside immeasurably talented singer Sulene Fleming.
Performances at The Jazz Café and Pizza Express Jazz Club in London plus gigs and festivals across Europe have seen The Fantastics! share the stage with Larry Graham, Reuben Wilson and Bernard ‘Pretty’ Purdie among other greats since their official formation in 2007. Vocalist Sulene Fleming has recently finished a stint as lead vocalist for The Brand New Heavies, as well as collaborations with Incognito and Leroy Hutson.
All that live performance pedigree is captured brilliantly on ‘Take A Shot’, a warm and detailed recording that documents a tight, well-rehearsed band having fun together and inspiring one another in the studio.
Ten track album ‘Take A Shot’ follows later this year on BBE.
Buy/Stream the single here: https://orcd.co/happysong
MF Robots return to BBE Music with ’Happy Song’, the stunning lead single from their forthcoming album ‘Break The Wall’.
Following up last year’s label debut, a fiery cover version of the Chairmen Of The Board classic ‘Finders Keepers’, ‘Happy Song’ offers up a scintillating first taste of album ‘Break The Wall, due for release in Spring 2021. And what an introduction it is: uplifting and timeless soul/funk, showcasing Dawn Joseph’s effortless yet powerful lead vocal and Jan Kincaid’s unmistakable, vibrant rhythm section to perfection. Jazz-tinged Rhodes chords, ultra-tight horns and a funky clavinet riff on the outro complete this highly polished arrangement, underpinning a melody that can only be described as an earworm.
Collaborating for the first time while recording and performing with one of the UK’s most commercially successful Acid Jazz bands The Brand New Heavies in 2013, founder / drummer Jan Kincaid and vocalist Dawn Joseph discovered immediate musical chemistry and began writing songs together right away. They soon left the band to concentrate on their own work, starting MF Robots (Music For Robots) and releasing an eponymous debut in 2018. The album was so well received that the duo soon morphed into a band as they found themselves in-demand at venues and festivals all over Europe.
Forthcoming long player ‘Break The Wall’ represents a new benchmark for Jan and Dawn, reflecting the MF Robots project coalescing and maturing while fine-tuning their material, both on the road and in the studio.
Buy / Stream it here: https://orcd.co/takeashot
Never really comfortable with tightly defined and rigid musical pigeonholes, The Fantastics! have always been pushing the boundaries and honing their musical eclecticism. Now the London based outfit return, joining forces with BBE Music for new single ‘Take A Shot’ featuring their outstanding vocalist Sulene Fleming, plus remixes from House music hero Richard Earnshaw.
Taken from the band’s forthcoming third studio album, also titled ‘Take A Shot’, this lead single serves up a bold taste of what’s to come: timeless songwriting, masterful musicianship, powerhouse vocals and a punchy, horn-laden arrangement. Richard Earnshaw’s ‘Little Big’ remix drives the song deep into booty-shaking Disco-House territory, showcasing Sulene’s vocals front and centre over a soul-satisfying groove. Headed up by organist & pianist, DJ, radio presenter and former Freestyle Records head honcho Greg Boraman, The Fantastics! current line-up comprises bassist Raydn Hunter, drummer James Smith, saxophonist / flautist Mark Norton and new guitarist James Byron alongside immeasurably talented singer Sulene Fleming.
Performances at The Jazz Café and Pizza Express Jazz Club in London plus gigs and festivals across Europe have seen The Fantastics! share the stage with Larry Graham, Reuben Wilson and Bernard ‘Pretty’ Purdie among other greats since their official formation in 2007. Vocalist Sulene Fleming has recently finished a stint as lead vocalist for The Brand New Heavies, as well as collaborations with Incognito and Leroy Hutson.
All that live performance pedigree is captured brilliantly on ‘Take A Shot’, a warm and detailed recording that documents a tight, well-rehearsed band having fun together and inspiring one another in the studio.
Ten track album ‘Take A Shot’ follows later this year on BBE.
Order on 7" Vinyl: https://www.bbemusic.com/downloads/sun-palace-rude-movements-remixes/
Production heroes Moodymann and Kenny Dope revisit one of electronic music’s foundation records, Rude Movements by SunPalace, with brand new remixes issued on BBE Music’s vinyl-only offshoot imprint ALIM.
Presented on strictly limited 7” vinyl, Moodymann and Kenny Dope pay tribute to a New York Loft classic first made famous by David Mancuso, which strongly influenced both artists early in their careers, as well as helping to shape the early House Music movement in the hands of Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit among many others.
Two of the modern electronic scene’s most consistent innovators and elevators, Moodymann and Kenny Dope were selected by SunPalace producer Mike Collins himself to rework the track. Sadly, Mike passed away in late 2018 before either version was completed, but as a fan of both artists, we’re sure Mike would have been excited by both of these loving and reverent revisions to his iconic work.
Recorded in 1981s at Mike’s home studio in London, ‘Rude Movements’ was originally released as the B-Side to a track called ‘Winning’. A true Brit-funk oddity, the track’s improvised nature and lack of vocal hooks initially consigned it to obscurity, until its pristine sonics and irrepressible groove caught the ear of David Mancuso and he presented it at his already influential Loft Party.
Moodymann’s remix retains the ‘jammed’ feel of Rude Movements, introducing stellar flute, sax and piano solos over the groove, while remaining utterly faithful to the original vibe.
Kenny Dope’s ‘Dancefloor Powder’ version adds a vintage Afro-Latin drum break into the mix, while showcasing the original’s epic synth solo.
A deluxe double vinyl package containing extended versions of these remixes, plus several more, is planned for release on BBE Music in 2021.
Buy on 7" vinyl: https://www.bbemusic.com/downloads/sun-palace-rude-movements-remixes/
Production heroes Moodymann and Kenny Dope revisit one of electronic music’s foundation records, Rude Movements by SunPalace, with brand new remixes issued on BBE Music’s vinyl-only offshoot imprint ALIM.
Presented on strictly limited 7” vinyl, Moodymann and Kenny Dope pay tribute to a New York Loft classic first made famous by David Mancuso, which strongly influenced both artists early in their careers, as well as helping to shape the early House Music movement in the hands of Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit among many others.
Two of the modern electronic scene’s most consistent innovators and elevators, Moodymann and Kenny Dope were selected by SunPalace producer Mike Collins himself to rework the track. Sadly, Mike passed away in late 2018 before either version was completed, but as a fan of both artists, we’re sure Mike would have been excited by both of these loving and reverent revisions to his iconic work.
Recorded in 1981s at Mike’s home studio in London, ‘Rude Movements’ was originally released as the B-Side to a track called ‘Winning’. A true Brit-funk oddity, the track’s improvised nature and lack of vocal hooks initially consigned it to obscurity, until its pristine sonics and irrepressible groove caught the ear of David Mancuso and he presented it at his already influential Loft Party.
Moodymann’s remix retains the ‘jammed’ feel of Rude Movements, introducing stellar flute, sax and piano solos over the groove, while remaining utterly faithful to the original vibe.
Kenny Dope’s ‘Dancefloor Powder’ version adds a vintage Afro-Latin drum break into the mix, while showcasing the original’s epic synth solo.
A deluxe double vinyl package containing extended versions of these remixes, plus several more, is planned for release on BBE Music in 2021.
Jamaican producer affiliated with Soul Clap’s ‘Crew Love’ collective, David Marston joins forces with Philadelphia artists Lady Alma and DJ Rob Paine for ‘All The Way Far Away’ on BBE Music, featuring remixes from Toribio and Troop 493.
All The Way Far Away is a mellow dance groove with glistening keys, beautiful synths and a light driving beat, all which meld together to support the lush and sentimental vocals of Lady Alma. Producers Rob Paine and David Marston first conceptualized the track on a fall afternoon in the city of Brotherly Love. The pair met through the music scene in Philadelphia and quickly bonded over a shared love of reggae, dance music, and DJing. Marston sent Paine a rough instrumental version of what would become All The Way Far Away. Paine refined and further developed the instrumental, and then invited indisputable legend of Philadelphia’s house music scene, Lady Alma, to lend her writing and vocal talent to the song. In her powerful lyrics, Lady Alma reminisces over an unfor
gettable relationship, recounting an “endless love affair” between two people who have developed an inextricable connection. She reflects on the powerful and bittersweet memory of lost love. All The Way Far Away is a poignant song that highlights the significance of gratitude and remembrance in navigating intricacies of a storied romance.
The release package also includes a club rendition by Paine and Marston, a breaks remix from Troop 493 (Jon Gunshor & Paine), as well as a floor-stomping, funk-heavy club remix from Brooklyn’s Toribio. The track also features wistful trumpet lines recorded by Aquiles Navarro of Irreversible Entanglements.
Buy/Stream the EP here: orcd.co/hypersoulheart
Poet, singer, producer and DJ OVEOUS teams up with BBE Music for ‘HEART’, the second in a series of three EPs on the label, titled FIRE, HEART and MEDICINE.
This trio of EPs on BBE tells a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
Second EP ‘Heart’ revolves around feelings of being “connected to someone special in your life and riding that wave we call the ‘honeymoon phase’.” Opening track ‘APPLZ’ is a lighter, bouncier take on ‘Rotten APPLZ’ the closing track from previous EP ‘Fire’. Featuring Aussie vocalist and multi-instrumentalist Julian Steel, ‘APPLZ’ is simply an ebullient celebration of life and love, with a truly magnetic hook.
Featuring Seven Davis Jr, ‘3 Seasons’ was recorded in New York, with OVEOUS laying down the drums and writing the song while Seven Davis Jr added soulful keys. Both artists voice the same verse in their own unique styles, making this collaboration in the truest sense.
Co-produced by Amin Payne aka Teymori, future-soul cut ‘Calculus’ closes ‘HEART’ with a touching tribute to love over an ultra-funky, disco infused groove.
Developing his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music. In 2018 OVEOUS and long time collaborator QVLN, released ‘Queimar’, a dance hit lauded by Traxsource as one of their top tracks of the year.
Buy/Stream the EP here: https://orcd.co/hypersoulheart
Poet, singer, producer and DJ OVEOUS teams up with BBE Music for ‘HEART’, the second in a series of three EPs on the label, titled FIRE, HEART and MEDICINE.
This trio of EPs on BBE tells a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
Second EP ‘Heart’ revolves around feelings of being “connected to someone special in your life and riding that wave we call the ‘honeymoon phase’.” Opening track ‘APPLZ’ is a lighter, bouncier take on ‘Rotten APPLZ’ the closing track from previous EP ‘Fire’. Featuring Aussie vocalist and multi-instrumentalist Julian Steel, ‘APPLZ’ is simply an ebullient celebration of life and love, with a truly magnetic hook.
Featuring Seven Davis Jr, ‘3 Seasons’ was recorded in New York, with OVEOUS laying down the drums and writing the song while Seven Davis Jr added soulful keys. Both artists voice the same verse in their own unique styles, making this collaboration in the truest sense.
Co-produced by Amin Payne aka Teymori, future-soul cut ‘Calculus’ closes ‘HEART’ with a touching tribute to love over an ultra-funky, disco infused groove.
Developing his unique ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well-deserved recognition from the global community as a truly original new voice in House and electronic music. In 2018 OVEOUS and long time collaborator QVLN, released ‘Queimar’, a dance hit lauded by Traxsource as one of their top tracks of the year.
Buy/Stream the EP here: https://orcd.co/intothelight
Valvin “V” Roane offers up a soulful taste of upcoming album ‘Image A Nation’ with lead single ‘Into The Light’ featuring Yameen Allworld.
‘Into The Light’ is a smooth, warm and life-affirming Neo-Soul gem, served with that special sauce that, it seems, only Philly artists can perfect. Yameen’s relaxed rhyme flow perfectly compliments V’s flawless vocal performance over a classic beat, an instrumental version of which is included in the package.
V’s long friendship and collaborative relationship with Yameen pre-dates his debut album, 2005’s ‘The Revelation Is Now Televised’, which was the first time the pair appeared together on record. Both subsequently contributed to Jill Scott’s 2011 album ‘The Light Of The Sun’, which incidentally also featured fellow BBE artist Larry Gold as composer and arranger. Alongside Jontae Slade and Andre Capers, Yameen was one of the main writers behind V’s new album ‘Image A Nation’, but it’s only on this cut that he makes an on-mic appearance.
V is widely known throughout the US soul and R&B community as a ‘go-to’ vocalist, having worked with Justin Timberlake, Musiq Soulchild and Will Smith to name but a few. Yameen Allworld is a mainstay of the Philadelphia music scene, previously working with Kindred The Family Soul and occasionally acting as hype-man for Questlove’s legendary DJ sets.
Album ‘Image A Nation’ is slated for release in early September 2020
Buy/Stream the EP here: orcd.co/straightahead
Fresh from his trio of ‘Dishwater Blues’ EPs released in collaboration with Margaret Grace and Souldynamic on BBE, veteran Italian electronic producer Luis Radio returns to the label with his new offering, the ‘Straight Ahead EP’.
Title track ‘Straight Ahead’ is simply a timeless Deep House cut, with a bouncy, 90s percussive feel, jazzy chords and an ultra-funky organ solo by Martino Onorato which takes this track straight to church.
Second track ‘The Pink Suitcase’ summons up an equally classic feel, with retro bass and Latin-infused percussion, which give way to yet more stunning keyboard work from Onorato, this time on a Rhodes piano.
Closing out the EP, ‘Reaching Out’ delivers a more stripped back arrangement; muted gospel chords and an expressive synth solo giving way to a truly transcendent, passionate sax solo performed by Daniele Tittarelli.
We hope you enjoy this trio of classic instrumental House cuts, heralding the coming of warm weather and (hopefully) some magical sunset moments on the terrace.
Italian record collectors The Grasso Brothers serve up an exclusive, all-vinyl DJ mix for the BBE faithful, including a few tracks we're pretty certain have never been played in a DJ set before...
All the tracks played from the Original LP or 12".
Buy / Stream their 2016 BBE album 'We Know How To Boogie': https://orcd.co/howtoboogie
Tracklist: 1 Harris mazyc - More Power to You 2 Roberta flack - Lovin you 3 Rivage - Strung out on your love 4 Billy Foster & Audio - City Lights 5 Lisa Hill - I'm on the Real Side 6 Rudy Stewart - Get Down 7 Alphounse mounzon - Take your troubles away 8 Firebolts - Everybody Party 10 Life force - prove me wrong 11 Jesus wyane - Ladies Choice 12 80’s ladies - I knew that love 13 Paulette Reaves - It's Hard To Dance (With A Broken Heart) 14 Kay Gees - Good feel 15 ellen 6 ellen - the look of love 16 Sassafrass - Party Down 17 Licky - African Rock 18 Cloud One - Happy music 19 Arabi - Three times 20 Poison - Our Place in Time 21 Stone Luv - Roller Disco 22 Sherman Hunter - Dance to freedom 23 disconnection - Am I Dreamin 24 j.W Mc Gee - Turn me on 25 Freeze - Keep in touch 26 The Duncans - Make it Hot 27 Panache - Jam on 28 Francine Mc.Gee - Delirum 29 Straight Jacket - fun 30 Don Mastroianni - Just one Touch 31 Boris Garder - Melin' pot 32 Matt manucci 33 Charlie kingson - nimele Bolo 34 Eboni Band - Get together 35 Thunderbold - love so funny 36 Moods - Live Today 37 Dyson's faces - Till I've Got This Feelin' Of Love (Instrumental) 38 Shandileer shake 39 G&D - Changes 40 LTJ - Do it 41 Summer Groov - the joneses 42 Fronzena Harris - Lovetime guarantee 43 Those Groove intention - We Know how to Boogie
Buy / Stream the album: orcd.co/ozobiaspecial
Nkem Njoku & Ozzobia Sound’s one and only album, Ozobia Special, is an early 80s Igbo Highlife masterpiece, drawing on Ghana Highlife as well as traditional Ogene 6/8 bell tempos.
Nkem Njoku’s only album as leader, this LP epitomizes the feel-good, gospel-tinged party atmosphere of Igbo Highlife, with John Kante’s soukous guitar scales interweaving the sharp sax/ trumpet line-up, which includes the legendary Ray Stephen Oche, whose two scarce albums with his band Matumbo are big afro-jazz collectors’ items, reissued several times over the years.
Percussion section includes the prolific Smart ‘Friday Pozo’ Thompson, whose session credits read like a ‘who’s who’ of contemporary West African music and include many gigs on Tabansi artists’ albums. The razor-sharp production sound, as so often on the best Tabansi Highlife and boogie sessions, is down to multi-keyboardist Jake Sollo.
Buy / Stream the album: orcd.co/blackatlantica
BBE Music is proud to present the first official compilation of edits by Berlin DJ producer and label owner Daniel Haaksman, titled “Black Atlantica Edits”.
In 2004, Haaksman put Brazilian baile funk on the map with his seminal “Rio Baile Funk Favela Booty Beats” compilation. Today he runs Man Recordings, Europe ́s leading tropical bass label, which has put out more than one hundred releases cultivating trans-continental music and sound dialogues between Europe, South America and Africa. For “Black Atlantica Edits”, Daniel presents ten dancefloor-friendly reworks, made both from vintage and current tracks, from all across the Americas and Africa. Featuring a diverse cast of international artists including Francis Bebey, CK Mann, Soul Brothers, Bonde Do Rôlé and Kaba Blon, this album explores the Afro-Latin diaspora, with edits that consistently grace the record crates of Gilles Peterson and Mr Scruff among others.
The album’s title refers to the Paul Gilroy's 1993 book “The Black Atlantic : Modernity and Double Consciousness”. In it Gilroy examines how the Black diasporic history of the Atlantic challenges art and knowledge to find new forms - with music being particularly important. Daniel Haaksman picked up on Gilroy ́s idea of the Black Atlantic as a transnational cultural realm when putting together his musical deconstructions and reworks for his “Black Atlantica Edits”. Daniel intentionally added an “a” to the “Atlantic” to point out to the non- English, Portuguese, Spanish or French speaking cultures that are part of the wider Black Atlantic space, e.g. Brazil and Angola, and to a further extent also countries like Peru, Cameroon or Mali, which all have been touched by the trans-continental dialogues and its hybrid culture.
Buy / Stream: orcd.co/stopover
BBE Music presents the sixth release in its acclaimed J Jazz Masterclass Series: ‘Stop Over’ by Hideto Sasaki – Toshiyuki Sekine Quartet +1. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon.
Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this.
Licensed and released with the approval of Toshiyuki Sekine himself, ‘Stop Over’ will be available for download and streaming, as a CD and double vinyl LP, the first vinyl reissue of this amazing album since originally slipping out to family and friends in 1976. With a deluxe packaging and translated sleeve notes, there will also be new notes and an interview with Toshiyuki Sekine.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy/Stream here: https://orcd.co/therealones All proceeds from this track go directly to TY’s family.
Durrty Goodz pays tribute to his friend and collaborator TY (Ben Chijioke) in the heartfelt song ‘The Real Ones’, featuring cuts by Shortee Blitz.
TY was a foundation pillar of the UK Hip Hop scene, inspiring myriad artists. Whilst many knew TY for his lyrical ability, few are aware of his production skills, developed alongside longtime collaborator Drew Horley.
It was for that very reason Goodz decided to highlight the fact by using the instrumental version of TY’s own song ‘Me’, taken from his 2010 BBE album ‘Special Kind of Fool’.
Durrty Goodz is a highly respected grime MC, rapper and activist from London, active in the scene since 2003. Under his ‘OG Roots’ alias, he collaborated with on 2018 track ‘Eyes Open’, which was featured on TY’s final album ‘Work Of Heart’.
Pre-order / pre-save: orcd.co/boddhisatva18
Pioneering African artist, founder of Offering Recordings and father of Ancestral Soul, Boddhi Satva returns to BBE with retrospective double album ‘18’, charting nearly two decades of groundbreaking music production.
Since releasing his debut album, Invocation, on BBE back in 2012 with Louie Vega acting as executive producer, Boddhi Satva has emerged from behind the console to become one of the most respected and recognisable producers on the planet. With a sonic palette that constantly gestures back to his native Africa and hints at a deep knowledge of folklore and spirituality, Boddhi’s mystical touch has found its way onto smash-hit pop and Zouk records, as well as the deepest of underground cuts.
Taking in over 30 musical highlights from his career so far, ‘18’ turns up hidden gems and reflects on classics, life-changing collaborations and solo successes. Satva’s creative expansion and personal journey are traced across this intricate, self-reflective collection. And the lessons learnt from this journey through music? “Success doesn’t actually change people, it magnifies their true self,” he says. “We should always be open to learning and avoid burning bridges over futile considerations.”
Speaking of learning, this album features many of the artists that waymarked Boddhi’s path over the years, from early mentors DJ Pippi, Osunlade and Alton Miller to songwriting inspirations such as Badi, Zaki Ibrahim, Maalem Hammam, Zano and Omar, to name but a few. Collaboration is a vital part of Boddhi’s creative process. As he puts it “these encounters are very, very organic and never forced. I’ve also seen some dream collaborations come to life for two simple reasons in my opinion: believing in those dreams working steadily and letting the Universe make them happen for me.”
Over the course of ‘18’, we can hear the growth and evolution of Satva’s ‘Ancestral Soul’. “Before being an actual sound,” Says Boddhi “it’s is a mind-set. I always approach my music with the intention of uplifting and healing as many souls I can. Now sound-wise I’ve always wanted my musical envelope to be open creatively but always keep its African-ness, no matter the diversity of the sound. It is important for me to add that though I’m musically very open, I believe that what gives Ancestral Soul its special energy is the fact that it’s anchored by strong roots.”
Buy the album on Vinyl/Cd/Digital here: orcd.co/tasteofchicago
Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26.
Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist-driven by a deep desire to get people moving in the dance.
A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City.
The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.
Buy/Stream the EP here: orcd.co/straightahead
Fresh from his trio of ‘Dishwater Blues’ EPs released in collaboration with Margaret Grace and Souldynamic on BBE, veteran Italian electronic producer Luis Radio returns to the label with his new offering, the ‘Straight Ahead EP’.
Title track ‘Straight Ahead’ is simply a timeless Deep House cut, with a bouncy, 90s percussive feel, jazzy chords and an ultra-funky organ solo by Martino Onorato which takes this track straight to church.
Second track ‘The Pink Suitcase’ summons up an equally classic feel, with retro bass and Latin-infused percussion, which give way to yet more stunning keyboard work from Onorato, this time on a Rhodes piano.
Closing out the EP, ‘Reaching Out’ delivers a more stripped back arrangement; muted gospel chords and an expressive synth solo giving way to a truly transcendent, passionate sax solo performed by Daniele Tittarelli.
We hope you enjoy this trio of classic instrumental House cuts, heralding the coming of warm weather and (hopefully) some magical sunset moments on the terrace.
Buy / Stream the album: orcd.co/jupitereffect
Unearthed by renowned record collector and music historian DJ Amir, BBE Music presents the first ever reissue of rare 1978 jazz-fusion album ‘The Jupiter Effect’ by The Larry Rose Band.
Recorded in Amsterdam by a Dutch/American quintet of players, released on eclectic Dutch label Crossroad, ‘The Jupiter Effect’ was the sole offering from multi-instrumentalist Larry Rose and his band.
Having performed in various groups, most notably The Liquid Blues Band, which featured Lex Silva on bass and Clay Cotton on B3 (these two would go on to play with John Lee Hooker and Charlie Musslewhite respectively), a young Larry Rose dropped out of college and bought a one-way ticket to Europe, where he’s spend the next few years in Amsterdam as a musical adventurer, trading guitar lessons for rent and living out his dreams.
In late 1975, Larry met fellow American songwriter Stanley Davis and formed The Larry Rose Band. In their first iteration, the group played rock’n’roll covers across Holland and Germany, until Larry and Stanley splintered off in 1977 to create their own jazz-tinged material with new members Toon Janssen (drums / percussion) and Theo van Halen (saxophones). When Larry’s old friend, American vocalist Paul Pinto visited Amsterdam in ’78, the band invited him to join them in the studio to record their first (and what would be their only) album, The Jupiter Effect.
On this special album, The Larry Rose Band’s myriad influences and inspirations are on display, from blues through rock to jazz and beyond, all played by a dazzlingly talented group of young players, road-hardened and at the height of their powers.
Buy / Stream the album: https://orcd.co/blackatlantica
BBE Music is proud to present the first official compilation of edits by Berlin DJ producer and label owner Daniel Haaksman, titled “Black Atlantica Edits”. In 2004, Haaksman put Brazilian baile funk on the map with his seminal “Rio Baile Funk Favela Booty Beats” compilation. Today he runs Man Recordings, Europe ́s leading tropical bass label, which has put out more than one hundred releases cultivating trans-continental music and sound dialogues between Europe, South America and Africa. For “Black Atlantica Edits”, Daniel presents ten dancefloor-friendly reworks, made both from vintage and current tracks, from all across the Americas and Africa. Featuring a diverse cast of international artists including Francis Bebey, CK Mann, Soul Brothers, Bonde Do Rôlé and Kaba Blon, this album explores the Afro-Latin diaspora, with edits that consistently grace the record crates of Gilles Peterson and Mr Scruff among others. The album’s title refers to the Paul Gilroy's 1993 book “The Black Atlantic : Modernity and Double Consciousness”. In it Gilroy examines how the Black diasporic history of the Atlantic challenges art and knowledge to find new forms - with music being particularly important. Daniel Haaksman picked up on Gilroy ́s idea of the Black Atlantic as a transnational cultural realm when putting together his musical deconstructions and reworks for his “Black Atlantica Edits”. Daniel intentionally added an “a” to the “Atlantic” to point out to the non- English, Portuguese, Spanish or French speaking cultures that are part of the wider Black Atlantic space, e.g. Brazil and Angola, and to a further extent also countries like Peru, Cameroon or Mali, which all have been touched by the trans-continental dialogues and its hybrid culture.
Buy/Stream the EP here: https://orcd.co/straightahead
Fresh from his trio of ‘Dishwater Blues’ EPs released in collaboration with Margaret Grace and Souldynamic on BBE, veteran Italian electronic producer Luis Radio returns to the label with his new offering, the ‘Straight Ahead EP’.
Title track ‘Straight Ahead’ is simply a timeless Deep House cut, with a bouncy, 90s percussive feel, jazzy chords and an ultra-funky organ solo by Martino Onorato which takes this track straight to church.
Second track ‘The Pink Suitcase’ summons up an equally classic feel, with retro bass and Latin-infused percussion, which give way to yet more stunning keyboard work from Onorato, this time on a Rhodes piano.
Closing out the EP, ‘Reaching Out’ delivers a more stripped back arrangement; muted gospel chords and an expressive synth solo giving way to a truly transcendent, passionate sax solo performed by Daniele Tittarelli.
We hope you enjoy this trio of classic instrumental House cuts, heralding the coming of warm weather and (hopefully) some magical sunset moments on the terrace.
Buy / stream: https://orcd.co/royayersreaching
Discovered among the storied Roy Ayers ‘Virgin Ubiquity’ studio session tapes, BBE Music presents ‘Reaching The Highest Pleasure’, a previously unreleased gem capturing Ayers and his band at their smooth and soulful best.
Lovingly remastered by Optimum mastering in Bristol, this lost masterpiece recorded in June 1977 features a sumptuous bass-line and ultra-tight groove, over which Roy’s extended vibraphone solo simply soars.
For reasons lost to the mists of time, ‘Reaching The Highest Pleasure’ was never included on either volume of BBE’s ‘Virgin Ubiquity’ albums, however eagle-eared music fans may remember a slightly different version being championed by Gilles Peterson around a decade ago.
As we all know, pleasure is most rewarding when it’s shared, no matter how long it takes, so enjoy this previously unpublished page of musical history from the Godfather of neo soul himself, Mr Roy Ayers.
Buy / Stream: orcd.co/stopover
BBE Music presents the sixth release in its acclaimed J Jazz Masterclass Series: ‘Stop Over’ by Hideto Sasaki – Toshiyuki Sekine Quartet +1. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon.
Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this.
Licensed and released with the approval of Toshiyuki Sekine himself, ‘Stop Over’ will be available for download and streaming, as a CD and double vinyl LP, the first vinyl reissue of this amazing album since originally slipping out to family and friends in 1976. With a deluxe packaging and translated sleeve notes, there will also be new notes and an interview with Toshiyuki Sekine.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy / Stream the album: orcd.co/ozobiaspecial
Nkem Njoku & Ozzobia Sound’s one and only album, Ozobia Special, is an early 80s Igbo Highlife masterpiece, drawing on Ghana Highlife as well as traditional Ogene 6/8 bell tempos.
Nkem Njoku’s only album as leader, this LP epitomizes the feel-good, gospel-tinged party atmosphere of Igbo Highlife, with John Kante’s soukous guitar scales interweaving the sharp sax/ trumpet line-up, which includes the legendary Ray Stephen Oche, whose two scarce albums with his band Matumbo are big afro-jazz collectors’ items, reissued several times over the years.
Percussion section includes the prolific Smart ‘Friday Pozo’ Thompson, whose session credits read like a ‘who’s who’ of contemporary West African music and include many gigs on Tabansi artists’ albums. The razor-sharp production sound, as so often on the best Tabansi Highlife and boogie sessions, is down to multi-keyboardist Jake Sollo.
Available on vinyl, CD or digital formats: orcd.co/lillygoodparty2
Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound.
Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London.
The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland.
LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect.
Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata.
Buy/Stream the album here : orcd.co/boddhisatva18
Pioneering African artist, founder of Offering Recordings and father of Ancestral Soul, Boddhi Satva returns to BBE with retrospective double album ‘18’, charting nearly two decades of groundbreaking music production.
Since releasing his debut album, Invocation, on BBE back in 2012 with Louie Vega acting as executive producer, Boddhi Satva has emerged from behind the console to become one of the most respected and recognisable producers on the planet. With a sonic palette that constantly gestures back to his native Africa and hints at a deep knowledge of folklore and spirituality, Boddhi’s mystical touch has found its way onto smash-hit pop and Zouk records, as well as the deepest of underground cuts.
Taking in over 30 musical highlights from his career so far, ‘18’ turns up hidden gems and reflects on classics, life-changing collaborations and solo successes. Satva’s creative expansion and personal journey are traced across this intricate, self-reflective collection. And the lessons learnt from this journey through music? “Success doesn’t actually change people, it magnifies their true self,” he says. “We should always be open to learning and avoid burning bridges over futile considerations.”
Speaking of learning, this album features many of the artists that waymarked Boddhi’s path over the years, from early mentors DJ Pippi, Osunlade and Alton Miller to songwriting inspirations such as Badi, Zaki Ibrahim, Maalem Hammam, Zano and Omar, to name but a few. Collaboration is a vital part of Boddhi’s creative process. As he puts it “these encounters are very, very organic and never forced. I’ve also seen some dream collaborations come to life for two simple reasons in my opinion: believing in those dreams working steadily and letting the Universe make them happen for me.”
Over the course of ‘18’, we can hear the growth and evolution of Satva’s ‘Ancestral Soul’. “Before being an actual sound,” Says Boddhi “it’s is a mind-set. I always approach my music with the intention of uplifting and healing as many souls I can. Now sound-wise I’ve always wanted my musical envelope to be open creatively but always keep its African-ness, no matter the diversity of the sound. It is important for me to add that though I’m musically very open, I believe that what gives Ancestral Soul its special energy is the fact that it’s anchored by strong roots.”
Buy the album on Vinyl/Cd/Digital here: https://orcd.co/tasteofchicago
Following the 2018 release of a 12" preview sampler, BBE Music is excited to present thealbum 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26.
Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deepdesire to get people moving in the dance.
A Chi-Town vibe is always the focus for the master selector and producer who's capable oflighting up dance-floors around the world and that ethos shines through on this compilation,featuring a collection of tracks giving listeners a true insight into the sound, culture and styleof the Windy City.
The compilation sees classic tracks by the likes of Chip E, Quest and more get a seriousJamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, butpoint to the future too. Get ready for a unique and timeless journey into Chicago's famoushouse music scene, courtesy of one of the city's key players.
Buy / Stream the album: https://orcd.co/ozobiaspecial
Nkem Njoku & Ozzobia Sound’s one and only album, Ozobia Special, is an early 80s Igbo Highlife masterpiece, drawing on Ghana Highlife as well as traditional Ogene 6/8 bell tempos.
Nkem Njoku’s only album as leader, this LP epitomizes the feel-good, gospel-tinged party atmosphere of Igbo Highlife, with John Kante’s soukous guitar scales interweaving the sharp sax/ trumpet line-up, which includes the legendary Ray Stephen Oche, whose two scarce albums with his band Matumbo are big afro-jazz collectors’ items, reissued several times over the years.
Percussion section includes the prolific Smart ‘Friday Pozo’ Thompson, whose session credits read like a ‘who’s who’ of contemporary West African music and include many gigs on Tabansi artists’ albums. The razor-sharp production sound, as so often on the best Tabansi Highlife and boogie sessions, is down to multi-keyboardist Jake Sollo.
Buy / Stream the album: https://orcd.co/jupitereffect
Unearthed by renowned record collector and music historian DJ Amir, BBE Music presents the first ever reissue of rare 1978 jazz-fusion album ‘The Jupiter Effect’ by The Larry Rose Band.
Recorded in Amsterdam by a Dutch/American quintet of players, released on eclectic Dutch label Crossroad, ‘The Jupiter Effect’ was the sole offering from multi-instrumentalist Larry Rose and his band.
Having performed in various groups, most notably The Liquid Blues Band, which featured Lex Silva on bass and Clay Cotton on B3 (these two would go on to play with John Lee Hooker and Charlie Musslewhite respectively), a young Larry Rose dropped out of college and bought a one-way ticket to Europe, where he’s spend the next few years in Amsterdam as a musical adventurer, trading guitar lessons for rent and living out his dreams.
In late 1975, Larry met fellow American songwriter Stanley Davis and formed The Larry Rose Band. In their first iteration, the group played rock’n’roll covers across Holland and Germany, until Larry and Stanley splintered off in 1977 to create their own jazz-tinged material with new members Toon Janssen (drums / percussion) and Theo van Halen (saxophones). When Larry’s old friend, American vocalist Paul Pinto visited Amsterdam in ’78, the band invited him to join them in the studio to record their first (and what would be their only) album, The Jupiter Effect.
On this special album, The Larry Rose Band’s myriad influences and inspirations are on display, from blues through rock to jazz and beyond, all played by a dazzlingly talented group of young players, road-hardened and at the height of their powers.
Buy / Stream: https://orcd.co/virgilabloh
Heralding their forthcoming album ‘Trouble Fete’, coming later this year, vocalist Badi and producer Boddhi Satva present ‘Virgil Abloh’, a song paying tribute to the Louis Vuitton designer and cultural icon.
Perfectly expressing the contemporary ‘Afrobeats’ vibe combined with Boddhi Satva’s unmistakable ‘Ancestral Soul’ sound, ‘Virgil Abloh’ is an irrepressible uptempo cut, over which Belgian/Congolese rapper Badi spits straight fire in celebration of the first ever American of African descent to become artistic director at a French fashion house. “For me, Virgil Abloh represents the African of the future. The fact that he achieved the role of artistic director of menswear at a house as prestigious an elitist as Louis Vuitton is so inspiring. Being from African roots, both Boddhi and I can relate…” – Badi
Born in Brussels to Congolese parents, Badi’s early music and lyrics explored the interconnected and dramatic history of both locales, important cultural work that earned him the ‘Paroles Urbaines’ award. His collaboration with ‘Ancestral Soul’ pioneer Boddhi Satva began with 2015’s ‘Intègration’, released on BBE Music. Forthcoming album ‘Trouble Fete’ reflects the pair’s shared experiences between the streets of Brussels and Lisbon, the nights of Abidjan and Kinshasa to the fashion shows of London and Paris.
Virgil Abloh’ is accompanied by a stunning video, shot at the Bushman Café and at infamous party “La Sunday” in Abidjan, Côte d’Ivoire by talented director and photographer ‘From Abidjan’ with styling by Young Nouchi, perfectly reflecting the song’s deeply rooted, distinctively African celebration of one of its own.
Out now on vinyl, CD or digital formats. Buy / Stream the album: https://orcd.co/tabansistudioband
Tabansi Studio Band – Wakar Alhazai Kano & Mus’En Sofua: four incredible slices of almost- undiscovered late-70s/early 80s Afrobeat magic, but not Fela’s Yoruba/Pidgin Afrobeat.
This is Igbo and Hausa Afrobeat- two very different and rarely heard styles. For the first time anywhere, BBE is proud to reissue back to back two LPs that are so elusive that many Afro heads doubted their very existence until now.
The beats are laid down by the seven legendary Martins Brothers – of ‘Money’ fame- whilst vocals are courtesy of a multi-lingual Igbo legend, Prof. Goddy Ezike, one of the most extraordinary voices out of Africa, up there with Youssou N’Dour and Salif Keita, whose half- century career has, like fine wine, simply improved his voice.
Wakar Alhazai Kano and Lokoci Azumi Ta Wuca (tracks 1 and 2) draw on Northern Hausa music, with its Islamic inflections and skipping 12/8 time signatures more typical of the string and wind-based instrumentation of Kano and the broader sub-Saharan musical palette.
Kama Sofos and Aka Ji Ego Ga Anu Nwam (tracks 3 and 4) are sung in Igbo, with all the percussive wonders that Igbo culture has to offer, filtered through a jazzy Afrobeat improvisational spectrum. Never before. Never again. New Afrobeats, in old bottles.
Buy/Stream the album here: orcd.co/discodemands6
Al Kent, Scotland’s foremost Disco aficionado and founder of the Million Dollar Orchestra, returns to BBE Music with a 6th volume of his famed ‘Disco Demands’ compilation series.
With all previous editions of ‘Disco Demands’ released as CDs on Al’s ‘Million Dollar Disco’ label, in 2012 we were delighted to release ‘The Best Of Disco Demands‘ across two glorious double vinyl albums. Taking the next step on the ‘Disco Demands’ journey in partnership, Volume 6 sees another incredible selection of obscure dance-floor soul selected and edited by Al Kent, fully licensed from the original artists, remastered and ready for a new generation of fans to discover.
Recorded during the late 70s and early 80s, the records chosen for Disco Demands Part Six may be hard to find, but don’t be confused: they have been selected solely for maximum dance-floor enjoyment. Al’s love of powerful string arrangements and bass-line led grooves are evident not only in his picks, but also in his subtle edits; removing a hint of cheese here, extending a particularly effective instrumental section there.
“Most of the tracks I’ve chosen for this album have been with me for some time – I’ve played them on and off as a DJ for years. And though that might seem like a lazy or selfish option when compiling an album, it also fits nicely with the concept that the album is primarily aimed at DJs and dancers. I’ve seen first hand how a crowd reacts to these choices. I’ve bought the records, rearranged the best bits and tested them on a room full of dancing drunks so you can confidently do the same…” – Al Kent, 2019
Buy/Stream the EP here: https://orcd.co/oveousfire
Poet, singer, producer and DJ OVEOUS joins forces with BBE Music for the first of a series of three interconnected EPs on the label, titled FIRE, HEART and MEDICINE.
Crafting his ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well- deserved recognition from the global community as a truly original new voice in House and electronic music.
Three new original EPs on BBE; ‘FIRE’, ‘HEART’ and ‘MEDICINE’, together will complete a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
So we begin with first EP ‘FIRE’, which represents the beginning, the flame that sparks a relationship. Opening track ‘Unfrozen’ was written in 2010, at a time when OVEOUS was recovering from a deep depression. Energetic and intense, the song represents rebirth, recovery: becoming unfrozen.
‘Yoga Flame’ is a dance-floor heater and one of the most popular tracks in OVEOUS’ live sets over the last year or so. Inspired by the feeling of meeting that special someone who’s “able to captivate my heart and open me up to the possibilities of love again”, the warmth and jubilation contained here are highly contagious.
Featuring Australian multi-instrumentalist Julian Steel, ‘Rotten APPLZ’ closes out the first EP in glitchy, soulful style, creating an irresistible groove with lyrics exploring that universal, joyful moment in a new love affair, when other suitors are still trying their luck, but deep down you know you’re the chosen one. The next installment, ‘HEART’, will be coming soon on BBE, but until then enjoy this first taste of the OVEOUS ‘Hyper Soul’ sound.
Download / Stream the track: orcd.co/tilliesdream
BBE Music presents ’Tillie’s Dream’, a delightful alternative folk song by Brighton collective ‘The Self Help Group’, accompanied by a soul-stirring, downtempo remix from Sumsuch.
Formed by songwriter Mark Bruce in 2009, The Self Help Group made waves across the folk and alt-country world with debut album ‘Not Waving But Drowning’, described as “Absolutely Wonderful” by Bob Harris on BBC Radio 2.
‘Tillie’s Dream’ never made it onto an album, but Sumsuch heard The Self Help Group perform it at a live show and it immediately stood out to him. “I loved the song just as it was, but right then and there a different version popped into my head, virtually fully-formed; something that’s never happened to me before. I begged Mark for the parts and got to work right away”.
Big drums and warm, rolling synths dominate Sumsuch’s remix, juxtaposing the delicate vocals and ukuleles of the original version. His is a complete reinterpretation of the track, changing the chord progression altogether and showing flashes of Flaming Lips- esque alternative Indie alongside his usual soulful sonic palette.
Mark Bruce wrote ‘Tillie’s Dream’ in appreciation of a beloved mural in Asbury Park, New Jersey (known as Tillie), which was demolished in 2004. Summoning up images of faded seaside grandeur, it’s is a sweetly wistful and powerfully evocative folk piece, ending with a truly infectious vocal refrain.
Available on vinyl, CD or digital formats: orcd.co/lillygoodparty2
Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound.
Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London.
The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland.
LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect.
Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata.
Buy / Stream the album: https://orcd.co/jupitereffect
Unearthed by renowned record collector and music historian DJ Amir, BBE Music presents the first ever reissue of rare 1978 jazz-fusion album ‘The Jupiter Effect’ by The Larry Rose Band.
Recorded in Amsterdam by a Dutch/American quintet of players, released on eclectic Dutch label Crossroad, ‘The Jupiter Effect’ was the sole offering from multi-instrumentalist Larry Rose and his band.
Having performed in various groups, most notably The Liquid Blues Band, which featured Lex Silva on bass and Clay Cotton on B3 (these two would go on to play with John Lee Hooker and Charlie Musslewhite respectively), a young Larry Rose dropped out of college and bought a one-way ticket to Europe, where he’s spend the next few years in Amsterdam as a musical adventurer, trading guitar lessons for rent and living out his dreams.
In late 1975, Larry met fellow American songwriter Stanley Davis and formed The Larry Rose Band. In their first iteration, the group played rock’n’roll covers across Holland and Germany, until Larry and Stanley splintered off in 1977 to create their own jazz-tinged material with new members Toon Janssen (drums / percussion) and Theo van Halen (saxophones). When Larry’s old friend, American vocalist Paul Pinto visited Amsterdam in ’78, the band invited him to join them in the studio to record their first (and what would be their only) album, The Jupiter Effect.
On this special album, The Larry Rose Band’s myriad influences and inspirations are on display, from blues through rock to jazz and beyond, all played by a dazzlingly talented group of young players, road-hardened and at the height of their powers.
Buy / Stream: https://orcd.co/quartremixed
A year after the release of Vince Watson’s ‘Life is Beautiful’ album, released under new alias ‘Quart’, BBE Music revisits the project with brand new remixes from Richard Earnshaw, The James L’Estraunge Orchestra and Sumsuch.
Heralding a new chapter in respected Glaswegian electronic producer Vince Watson’s artistic life, the moniker ‘Quart’ is short for The Vince Watson Quartet, a somewhat redundant title, given that Vince plays every instrument himself. Released on BBE Music in August 2018, ‘Life Is Beautiful’ fully showcased Vince’s abilities as a composer, crafting classical- tinged, downtempo and jazz-infused pieces, sounds that he’s teased and hinted at throughout his career, even within his techno productions. The album struck a chord with listeners all over the globe thanks to its languid, warm instrumental sound, which has consistently garnered impressive streaming numbers ever since its release. With a second ‘Quart’ album underway in the studio, BBE decided to return to the project, commissioning a selection of remixes from some of our favourite artists.
One half of Deep House chart toppers Spiritchaser, Richard Earnshaw will need no introduction to lovers of the jazzy, soulful side of Dance Music. His rework of ‘Inspiration’ bears many hallmarks of the Spiritchaser sound, delicately weaving the original elements in and out of an understated, spiritual Deep House groove.
Releasing mesmerising debut ‘Eventual Reality’ on BBE in 2017, we’re delighted to have The James L’Estraunge Orchestra back on the label for a complete remake of ‘Thinking Of You’, re-imagining the track as a bossa-infused, string laden, cinematic, jazzy epic.
Finally, one half of transatlantic duo Mega Jawns and BBE teamster Sumsuch turns in a subtle version of the album’s title track ‘Life Is Beautiful’, staying faithful to the source while adding hypnotic arpeggios, a head-nodding drum break and some original lead guitar.
Buy / Stream the album: https://orcd.co/soulgliding
Former member of A Forest Mighty Black and founder of Trüby Trio, Rainer Trueby presents his new compilation, Soulgliding, released on BBE Music.
Starting life as a group on Facebook, ‘Soulgliding’ is a phrase coined by Rainer Trueby to describe the more languid, smoother side of 2-Step, Boogie, Modern Soul and even Jazz. This silky collection spans several decades and sums up what Soulgliding is all about: evocative airy music that feels like a dream-flight across a friendly sky.
Or, as Patrick Forge puts it in his wonderful sleeve notes…
“Soulgliding….. It’s all in that word, a stroke of genius, no explanation needed, I knew what it was about before I even read the rules. Anyway there was only one rule that really mattered, the speed limit, nothing beyond 110bpm. What I didn’t know when Rainer first convened the eponymous Facebook group was just how addictive it would be. Several months of sharing, liking, commenting, loving and frantic dives into Discogs later, and Soulgliding has become a thing. A genre? Well, almost. This selection lovingly compiled by Rainer himself goes a long way to solidify the notion and stake a claim on the territory.
This set of gliders has all the elements; from the slow (enough!) boogie of Crystal Winds, to the jazzy excursions courtesy of Ambiance and Les Hooper, and a clutch of tunes that are closer to the original 2-Step blueprint from Demo Cates, Bridge, Cloud One and Donna McGhee. Then there are the eighties drum machine grooves of Patrice Rushen and Fifth Of Heaven and the ethereal beatless magic of Peter Brown’s “Without Love”. A selection that manages to amalgamate plenty of obscurities without losing the essence, a selection which shimmers, soothes, inspires……glides.”
Buy / Stream: https://orcd.co/stopover
BBE Music presents the sixth release in its acclaimed J Jazz Masterclass Series: ‘Stop Over’ by Hideto Sasaki – Toshiyuki Sekine Quartet +1. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon.
Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this.
Licensed and released with the approval of Toshiyuki Sekine himself, ‘Stop Over’ will be available for download and streaming, as a CD and double vinyl LP, the first vinyl reissue of this amazing album since originally slipping out to family and friends in 1976. With a deluxe packaging and translated sleeve notes, there will also be new notes and an interview with Toshiyuki Sekine.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy/Stream the album here: https://orcd.co/revolution
Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums.
Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle!
Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001.
Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday.
Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased.
But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.
Single track available: April 10th 2020 Album (vinyl, CD and digital) available: May 1st 2020
Nkem Njoku & Ozzobia Sound’s one and only album, Ozobia Special, is an early 80s Igbo Highlife masterpiece, drawing on Ghana Highlife as well as traditional Ogene 6/8 bell tempos.
Nkem Njoku’s only album as leader, this LP epitomizes the feel-good, gospel-tinged party atmosphere of Igbo Highlife, with John Kante’s soukous guitar scales interweaving the sharp sax/ trumpet line-up, which includes the legendary Ray Stephen Oche, whose two scarce albums with his band Matumbo are big afro-jazz collectors’ items, reissued several times over the years.
Percussion section includes the prolific Smart ‘Friday Pozo’ Thompson, whose session credits read like a ‘who’s who’ of contemporary West African music and include many gigs on Tabansi artists’ albums. The razor-sharp production sound, as so often on the best Tabansi Highlife and boogie sessions, is down to multi-keyboardist Jake Sollo.
Download / Stream the track: https://orcd.co/tilliesdream
BBE Music presents ’Tillie’s Dream’, a delightful alternative folk song by Brighton collective ‘The Self Help Group’, accompanied by a soul-stirring, downtempo remix from Sumsuch.
Formed by songwriter Mark Bruce in 2009, The Self Help Group made waves across the folk and alt-country world with debut album ‘Not Waving But Drowning’, described as “Absolutely Wonderful” by Bob Harris on BBC Radio 2.
‘Tillie’s Dream’ never made it onto an album, but Sumsuch heard The Self Help Group perform it at a live show and it immediately stood out to him. “I loved the song just as it was, but right then and there a different version popped into my head, virtually fully-formed; something that’s never happened to me before. I begged Mark for the parts and got to work right away”.
Big drums and warm, rolling synths dominate Sumsuch’s remix, juxtaposing the delicate vocals and ukuleles of the original version. His is a complete reinterpretation of the track, changing the chord progression altogether and showing flashes of Flaming Lips- esque alternative Indie alongside his usual soulful sonic palette.
Mark Bruce wrote ‘Tillie’s Dream’ in appreciation of a beloved mural in Asbury Park, New Jersey (known as Tillie), which was demolished in 2004. Summoning up images of faded seaside grandeur, it’s is a sweetly wistful and powerfully evocative folk piece, ending with a truly infectious vocal refrain.
Release Date: April 10th 2020
Format: Digital EP
Buy/Stream the album here: https://orcd.co/reachup2
DJ Andy Smith returns to BBE Music with a second stunning installment of his compilation series ‘Reach Up – Disco Wonderland’, released on triple vinyl, double CD and digital formats.
“Volume 2 takes the baton from Volume 1 and runs with it” says Andy. “It brings new Disco heat, with unreleased tracks & remixes by myself, Full Intention & Nick Reach Up, Crissy Kybosh and Bad Bikini & Disco Circus. These fresh takes rub nicely alongside tried and tested original tracks from the golden age of Disco for all to enjoy.”
In the two years since the first volume of ‘Reach Up – Disco Wonderland’ was issued, Andy’s ‘Reach Up’ DJ collective have been busy with performances at festivals such as Bestival, Festival No.6 and Eastern Electrics, as well as a host of club gigs from London to Lisbon and many spots in between. Their monthly South London Soul Train residency in Peckham, London is now in its third year, while their monthly Soho Radio show has been streamed and downloaded by thousands of Disco lovers Worldwide.
Just like Volume 1 before it, Reach Up – Disco Wonderland Volume 2 takes in forgotten boogie, funk, dance-floor soul and early house gems from the 70s and 80s, as well as a few contemporary productions created with a nod to the classics. Ranging from obscure West Indian pop artists to Chicago Disco royalty, ‘Reach Up – Disco Wonderland Volume 2’ searches high and low to find the heaviest grooves and purest deep-down good vibes. An exclusive DJ mix is included on the CD version for maximum ‘Reach Up’ pleasure.
Pre-order / pre-save: https://orcd.co/boddhisatva18 Pioneering African artist, founder of Offering Recordings and father of Ancestral Soul, Boddhi Satva returns to BBE with retrospective double album ‘18’, charting nearly two decades of groundbreaking music production.
Since releasing his debut album, Invocation, on BBE back in 2012 with Louie Vega acting as executive producer, Boddhi Satva has emerged from behind the console to become one of the most respected and recognisable producers on the planet. With a sonic palette that constantly gestures back to his native Africa and hints at a deep knowledge of folklore and spirituality, Boddhi’s mystical touch has found its way onto smash-hit pop and Zouk records, as well as the deepest of underground cuts.
Taking in over 30 musical highlights from his career so far, ‘18’ turns up hidden gems and reflects on classics, life-changing collaborations and solo successes. Satva’s creative expansion and personal journey are traced across this intricate, self-reflective collection. And the lessons learnt from this journey through music? “Success doesn’t actually change people, it magnifies their true self,” he says. “We should always be open to learning and avoid burning bridges over futile considerations.”
Speaking of learning, this album features many of the artists that waymarked Boddhi’s path over the years, from early mentors DJ Pippi, Osunlade and Alton Miller to songwriting inspirations such as Badi, Zaki Ibrahim, Maalem Hammam, Zano and Omar, to name but a few. Collaboration is a vital part of Boddhi’s creative process. As he puts it “these encounters are very, very organic and never forced. I’ve also seen some dream collaborations come to life for two simple reasons in my opinion: believing in those dreams working steadily and letting the Universe make them happen for me.”
Over the course of ‘18’, we can hear the growth and evolution of Satva’s ‘Ancestral Soul’. “Before being an actual sound,” Says Boddhi “it’s is a mind-set. I always approach my music with the intention of uplifting and healing as many souls I can. Now sound-wise I’ve always wanted my musical envelope to be open creatively but always keep its African-ness, no matter the diversity of the sound. It is important for me to add that though I’m musically very open, I believe that what gives Ancestral Soul its special energy is the fact that it’s anchored by strong roots.”
Buy / Stream the album: https://orcd.co/tasteofchicago
Following the 2018 release of a 12″ preview sampler, BBE Music is excited to present the album ‘A Taste of Chicago’, a compilation of classic house edits by Jamie 3:26.
Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance.
A Chi-Town vibe is always the focus for the master selector and producer who’s capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City.
The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago’s famous house music scene, courtesy of one of the city’s key players.
Jamie 3:26 – “This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.”
Buy/Stream the EP here: https://orcd.co/oveousfire
Poet, singer, producer and DJ OVEOUS joins forces with BBE Music for the first of a series of three interconnected EPs on the label, titled FIRE, HEART and MEDICINE.
Crafting his ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well- deserved recognition from the global community as a truly original new voice in House and electronic music.
Three new original EPs on BBE; ‘FIRE’, ‘HEART’ and ‘MEDICINE’, together will complete a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
So we begin with first EP ‘FIRE’, which represents the beginning, the flame that sparks a relationship. Opening track ‘Unfrozen’ was written in 2010, at a time when OVEOUS was recovering from a deep depression. Energetic and intense, the song represents rebirth, recovery: becoming unfrozen.
‘Yoga Flame’ is a dance-floor heater and one of the most popular tracks in OVEOUS’ live sets over the last year or so. Inspired by the feeling of meeting that special someone who’s “able to captivate my heart and open me up to the possibilities of love again”, the warmth and jubilation contained here are highly contagious.
Featuring Australian multi-instrumentalist Julian Steel, ‘Rotten APPLZ’ closes out the first EP in glitchy, soulful style, creating an irresistible groove with lyrics exploring that universal, joyful moment in a new love affair, when other suitors are still trying their luck, but deep down you know you’re the chosen one. The next installment, ‘HEART’, will be coming soon on BBE, but until then enjoy this first taste of the OVEOUS ‘Hyper Soul’ sound.
Buy / Stream the album: https://orcd.co/bellydancedisco
The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.
In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.
Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.
The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.
Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.
Available on vinyl, CD or digital formats: orcd.co/lillygoodparty2
Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound.
Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London.
The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland.
LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect.
Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata.
Buy / Stream the album: orcd.co/jupitereffect
Unearthed by renowned record collector and music historian DJ Amir, BBE Music presents the first ever reissue of rare 1978 jazz-fusion album ‘The Jupiter Effect’ by The Larry Rose Band.
Recorded in Amsterdam by a Dutch/American quintet of players, released on eclectic Dutch label Crossroad, ‘The Jupiter Effect’ was the sole offering from multi-instrumentalist Larry Rose and his band.
Having performed in various groups, most notably The Liquid Blues Band, which featured Lex Silva on bass and Clay Cotton on B3 (these two would go on to play with John Lee Hooker and Charlie Musslewhite respectively), a young Larry Rose dropped out of college and bought a one-way ticket to Europe, where he’s spend the next few years in Amsterdam as a musical adventurer, trading guitar lessons for rent and living out his dreams.
In late 1975, Larry met fellow American songwriter Stanley Davis and formed The Larry Rose Band. In their first iteration, the group played rock’n’roll covers across Holland and Germany, until Larry and Stanley splintered off in 1977 to create their own jazz-tinged material with new members Toon Janssen (drums / percussion) and Theo van Halen (saxophones). When Larry’s old friend, American vocalist Paul Pinto visited Amsterdam in ’78, the band invited him to join them in the studio to record their first (and what would be their only) album, The Jupiter Effect.
On this special album, The Larry Rose Band’s myriad influences and inspirations are on display, from blues through rock to jazz and beyond, all played by a dazzlingly talented group of young players, road-hardened and at the height of their powers.
Buy/Stream the album here: https://orcd.co/blackatlantica
BBE Music is proud to present the first official compilation of edits by Berlin DJ producer and label owner Daniel Haaksman, titled “Black Atlantica Edits”.
In 2004, Haaksman put Brazilian baile funk on the map with his seminal “Rio Baile Funk Favela Booty Beats” compilation. Today he runs Man Recordings, Europe ́s leading tropical bass label, which has put out more than one hundred releases cultivating trans-continental music and sound dialogues between Europe, South America and Africa. For “Black Atlantica Edits”, Daniel presents ten dancefloor-friendly reworks, made both from vintage and current tracks, from all across the Americas and Africa. Featuring a diverse cast of international artists including Francis Bebey, CK Mann, Soul Brothers, Bonde Do Rôlé and Kaba Blon, this album explores the Afro-Latin diaspora, with edits that consistently grace the record crates of Gilles Peterson and Mr Scruff among others. The album’s title refers to the Paul Gilroy's 1993 book “The Black Atlantic : Modernity and Double Consciousness”. In it Gilroy examines how the Black diasporic history of the Atlantic challenges art and knowledge to find new forms - with music being particularly important. Daniel Haaksman picked up on Gilroy ́s idea of the Black Atlantic as a transnational cultural realm when putting together his musical deconstructions and reworks for his “Black Atlantica Edits”. Daniel intentionally added an “a” to the “Atlantic” to point out to the non- English, Portuguese, Spanish or French speaking cultures that are part of the wider Black Atlantic space, e.g. Brazil and Angola, and to a further extent also countries like Peru, Cameroon or Mali, which all have been touched by the trans-continental dialogues and its hybrid culture
Buy / Stream the album: https://orcd.co/tasteofchicago
Following the 2018 release of a 12″ preview sampler, BBE Music is excited to present the album ‘A Taste of Chicago’, a compilation of classic house edits by Jamie 3:26.
Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance.
A Chi-Town vibe is always the focus for the master selector and producer who’s capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City.
The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago’s famous house music scene, courtesy of one of the city’s key players.
Jamie 3:26 – “This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.”
Buy/Stream the album here: orcd.co/discodemands6
Al Kent, Scotland’s foremost Disco aficionado and founder of the Million Dollar Orchestra, returns to BBE Music with a 6th volume of his famed ‘Disco Demands’ compilation series.
With all previous editions of ‘Disco Demands’ released as CDs on Al’s ‘Million Dollar Disco’ label, in 2012 we were delighted to release ‘The Best Of Disco Demands‘ across two glorious double vinyl albums. Taking the next step on the ‘Disco Demands’ journey in partnership, Volume 6 sees another incredible selection of obscure dance-floor soul selected and edited by Al Kent, fully licensed from the original artists, remastered and ready for a new generation of fans to discover.
Recorded during the late 70s and early 80s, the records chosen for Disco Demands Part Six may be hard to find, but don’t be confused: they have been selected solely for maximum dance-floor enjoyment. Al’s love of powerful string arrangements and bass-line led grooves are evident not only in his picks, but also in his subtle edits; removing a hint of cheese here, extending a particularly effective instrumental section there.
“Most of the tracks I’ve chosen for this album have been with me for some time – I’ve played them on and off as a DJ for years. And though that might seem like a lazy or selfish option when compiling an album, it also fits nicely with the concept that the album is primarily aimed at DJs and dancers. I’ve seen first hand how a crowd reacts to these choices. I’ve bought the records, rearranged the best bits and tested them on a room full of dancing drunks so you can confidently do the same…” – Al Kent, 2019
Buy/Stream the EP here: https://orcd.co/oveousfire
Poet, singer, producer and DJ OVEOUS joins forces with BBE Music for the first of a series of three interconnected EPs on the label, titled FIRE, HEART and MEDICINE.
Crafting his ‘Hyper Soul’ sound since 2007, OVEOUS first made waves with a guest appearance on Osunlade’s “Mirror Dance”, followed by his own production “I Apologize”, which was released on Yoruba Records with remixes from Ezel and Atjazz. OVEOUS has since gone on to work with Roy Ayers, Louie Vega and Boddhi Satva, earning himself well- deserved recognition from the global community as a truly original new voice in House and electronic music.
Three new original EPs on BBE; ‘FIRE’, ‘HEART’ and ‘MEDICINE’, together will complete a musical story that traces the artist’s personal growth, relationships and his “journey through the wonderful, curious maze that is love over the last decade”. As OVEOUS puts it, the project “showcases how I’ve matured in relationships and how I’ve learned to navigate my ego and my heart when times have been dark.”
So we begin with first EP ‘FIRE’, which represents the beginning, the flame that sparks a relationship. Opening track ‘Unfrozen’ was written in 2010, at a time when OVEOUS was recovering from a deep depression. Energetic and intense, the song represents rebirth, recovery: becoming unfrozen.
‘Yoga Flame’ is a dance-floor heater and one of the most popular tracks in OVEOUS’ live sets over the last year or so. Inspired by the feeling of meeting that special someone who’s “able to captivate my heart and open me up to the possibilities of love again”, the warmth and jubilation contained here are highly contagious.
Featuring Australian multi-instrumentalist Julian Steel, ‘Rotten APPLZ’ closes out the first EP in glitchy, soulful style, creating an irresistible groove with lyrics exploring that universal, joyful moment in a new love affair, when other suitors are still trying their luck, but deep down you know you’re the chosen one. The next installment, ‘HEART’, will be coming soon on BBE, but until then enjoy this first taste of the OVEOUS ‘Hyper Soul’ sound.
Pre-order / pre-save: https://orcd.co/boddhisatva18 Pioneering African artist, founder of Offering Recordings and father of Ancestral Soul, Boddhi Satva returns to BBE with retrospective double album ‘18’, charting nearly two decades of groundbreaking music production.
Since releasing his debut album, Invocation, on BBE back in 2012 with Louie Vega acting as executive producer, Boddhi Satva has emerged from behind the console to become one of the most respected and recognisable producers on the planet. With a sonic palette that constantly gestures back to his native Africa and hints at a deep knowledge of folklore and spirituality, Boddhi’s mystical touch has found its way onto smash-hit pop and Zouk records, as well as the deepest of underground cuts.
Taking in over 30 musical highlights from his career so far, ‘18’ turns up hidden gems and reflects on classics, life-changing collaborations and solo successes. Satva’s creative expansion and personal journey are traced across this intricate, self-reflective collection. And the lessons learnt from this journey through music? “Success doesn’t actually change people, it magnifies their true self,” he says. “We should always be open to learning and avoid burning bridges over futile considerations.”
Speaking of learning, this album features many of the artists that waymarked Boddhi’s path over the years, from early mentors DJ Pippi, Osunlade and Alton Miller to songwriting inspirations such as Badi, Zaki Ibrahim, Maalem Hammam, Zano and Omar, to name but a few. Collaboration is a vital part of Boddhi’s creative process. As he puts it “these encounters are very, very organic and never forced. I’ve also seen some dream collaborations come to life for two simple reasons in my opinion: believing in those dreams working steadily and letting the Universe make them happen for me.”
Over the course of ‘18’, we can hear the growth and evolution of Satva’s ‘Ancestral Soul’. “Before being an actual sound,” Says Boddhi “it’s is a mind-set. I always approach my music with the intention of uplifting and healing as many souls I can. Now sound-wise I’ve always wanted my musical envelope to be open creatively but always keep its African-ness, no matter the diversity of the sound. It is important for me to add that though I’m musically very open, I believe that what gives Ancestral Soul its special energy is the fact that it’s anchored by strong roots.”
Out now on vinyl, CD or digital formats. Buy / Stream the album: https://orcd.co/tabansistudioband
Tabansi Studio Band – Wakar Alhazai Kano & Mus’En Sofua: four incredible slices of almost- undiscovered late-70s/early 80s Afrobeat magic, but not Fela’s Yoruba/Pidgin Afrobeat.
This is Igbo and Hausa Afrobeat- two very different and rarely heard styles. For the first time anywhere, BBE is proud to reissue back to back two LPs that are so elusive that many Afro heads doubted their very existence until now.
The beats are laid down by the seven legendary Martins Brothers – of ‘Money’ fame- whilst vocals are courtesy of a multi-lingual Igbo legend, Prof. Goddy Ezike, one of the most extraordinary voices out of Africa, up there with Youssou N’Dour and Salif Keita, whose half- century career has, like fine wine, simply improved his voice.
Wakar Alhazai Kano and Lokoci Azumi Ta Wuca (tracks 1 and 2) draw on Northern Hausa music, with its Islamic inflections and skipping 12/8 time signatures more typical of the string and wind-based instrumentation of Kano and the broader sub-Saharan musical palette.
Kama Sofos and Aka Ji Ego Ga Anu Nwam (tracks 3 and 4) are sung in Igbo, with all the percussive wonders that Igbo culture has to offer, filtered through a jazzy Afrobeat improvisational spectrum. Never before. Never again. New Afrobeats, in old bottles.
Buy / Stream the album: https://orcd.co/soulgliding
Former member of A Forest Mighty Black and founder of Trüby Trio, Rainer Trueby presents his new compilation, Soulgliding, released on BBE Music.
Starting life as a group on Facebook, ‘Soulgliding’ is a phrase coined by Rainer Trueby to describe the more languid, smoother side of 2-Step, Boogie, Modern Soul and even Jazz. This silky collection spans several decades and sums up what Soulgliding is all about: evocative airy music that feels like a dream-flight across a friendly sky.
Or, as Patrick Forge puts it in his wonderful sleeve notes…
“Soulgliding….. It’s all in that word, a stroke of genius, no explanation needed, I knew what it was about before I even read the rules. Anyway there was only one rule that really mattered, the speed limit, nothing beyond 110bpm. What I didn’t know when Rainer first convened the eponymous Facebook group was just how addictive it would be. Several months of sharing, liking, commenting, loving and frantic dives into Discogs later, and Soulgliding has become a thing. A genre? Well, almost. This selection lovingly compiled by Rainer himself goes a long way to solidify the notion and stake a claim on the territory.
This set of gliders has all the elements; from the slow (enough!) boogie of Crystal Winds, to the jazzy excursions courtesy of Ambiance and Les Hooper, and a clutch of tunes that are closer to the original 2-Step blueprint from Demo Cates, Bridge, Cloud One and Donna McGhee. Then there are the eighties drum machine grooves of Patrice Rushen and Fifth Of Heaven and the ethereal beatless magic of Peter Brown’s “Without Love”. A selection that manages to amalgamate plenty of obscurities without losing the essence, a selection which shimmers, soothes, inspires……glides.”
Buy/Stream the EP here: https://orcd.co/dishwaterblues3
Luis Radio, Souldynamic & Margaret Grace return with a third and final helping of ‘Dishwater Blues’, offering up five more elegant, soulful House cuts.
The EP opens with ‘Heaven’, a delightfully poised deep groove with powerfully spiritual lyrics from Margaret Grace, jazzy chords and tight, bouncy drums. ‘Supernatureal’ delivers more of a straight up House feel with gospel-influenced organs and life-affirming lyrics, plus a prodigious piano solo. ‘Set Fire To The Rain’ shows off a moodier side of Grace’s songwriting, with atmospheric strings and dramatic chords. ‘Moving On’ lays down a hypnotic groove with rhythmic stabs, over which the vocals simply soar. Finally, bonus track ‘Live, Love Dance’ lays out a pretty good blueprint for a happy existence, with an old-school club feel summoned up by classic 808 drums, rolling bass and chopped-up vocals.
More about the artists: Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen. Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy/Stream the album here: https://orcd.co/revolution
Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums.
Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle!
Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001.
Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday.
Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased.
But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.
Buy / Stream the album: https://orcd.co/bellydancedisco
The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.
In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.
Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.
The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.
Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.
Buy / Stream: https://orcd.co/quartremixed
A year after the release of Vince Watson’s ‘Life is Beautiful’ album, released under new alias ‘Quart’, BBE Music revisits the project with brand new remixes from Richard Earnshaw, The James L’Estraunge Orchestra and Sumsuch.
Heralding a new chapter in respected Glaswegian electronic producer Vince Watson’s artistic life, the moniker ‘Quart’ is short for The Vince Watson Quartet, a somewhat redundant title, given that Vince plays every instrument himself. Released on BBE Music in August 2018, ‘Life Is Beautiful’ fully showcased Vince’s abilities as a composer, crafting classical- tinged, downtempo and jazz-infused pieces, sounds that he’s teased and hinted at throughout his career, even within his techno productions. The album struck a chord with listeners all over the globe thanks to its languid, warm instrumental sound, which has consistently garnered impressive streaming numbers ever since its release. With a second ‘Quart’ album underway in the studio, BBE decided to return to the project, commissioning a selection of remixes from some of our favourite artists.
One half of Deep House chart toppers Spiritchaser, Richard Earnshaw will need no introduction to lovers of the jazzy, soulful side of Dance Music. His rework of ‘Inspiration’ bears many hallmarks of the Spiritchaser sound, delicately weaving the original elements in and out of an understated, spiritual Deep House groove.
Releasing mesmerising debut ‘Eventual Reality’ on BBE in 2017, we’re delighted to have The James L’Estraunge Orchestra back on the label for a complete remake of ‘Thinking Of You’, re-imagining the track as a bossa-infused, string laden, cinematic, jazzy epic.
Finally, one half of transatlantic duo Mega Jawns and BBE teamster Sumsuch turns in a subtle version of the album’s title track ‘Life Is Beautiful’, staying faithful to the source while adding hypnotic arpeggios, a head-nodding drum break and some original lead guitar.
Available on vinyl, CD or digital formats: https://orcd.co/lillygoodparty2
Swiss DJ Alex Attias returns to BBE with a second helping of uptempo cuts, perfectly encapsulating his LillyGood Party! sound.
Founder of the recently revived Visions imprint, a long-time collector and a revered selector, Alex Attias is, before everything, a refined producer whose musical craft has seen him travel the globe, most notably with an extended stint in the birthplace of the bruk sound, London.
The tracks you’ll find on this compilation are all current favourites, or proven classics that have never left Alex's record box at the LillyGood Parties, a gathering Alex and his brother Stephane run in their hometown of Lausanne, Switzerland.
LillyGood Party! Vol.2 is another testament to Attias’ unswerving taste for smooth yet intricate, subtly layered yet deeply rooted dance compositions; some subtly edited for maximum dance-floor effect.
Featuring instantly recognisable names such as Louie Vega's Elements Of Life, Peven Everett and even Pharoah Sanders, LillyGood Party 2 also sheds light on some lesser-known artists, digging out some gems, buried deep across the jazz, disco and electronic musical strata.
Out now on vinyl, CD or digital formats. Buy / Stream the album: https://orcd.co/tabansistudioband
Tabansi Studio Band – Wakar Alhazai Kano & Mus’En Sofua: four incredible slices of almost- undiscovered late-70s/early 80s Afrobeat magic, but not Fela’s Yoruba/Pidgin Afrobeat.
This is Igbo and Hausa Afrobeat- two very different and rarely heard styles. For the first time anywhere, BBE is proud to reissue back to back two LPs that are so elusive that many Afro heads doubted their very existence until now.
The beats are laid down by the seven legendary Martins Brothers – of ‘Money’ fame- whilst vocals are courtesy of a multi-lingual Igbo legend, Prof. Goddy Ezike, one of the most extraordinary voices out of Africa, up there with Youssou N’Dour and Salif Keita, whose half- century career has, like fine wine, simply improved his voice.
Wakar Alhazai Kano and Lokoci Azumi Ta Wuca (tracks 1 and 2) draw on Northern Hausa music, with its Islamic inflections and skipping 12/8 time signatures more typical of the string and wind-based instrumentation of Kano and the broader sub-Saharan musical palette.
Kama Sofos and Aka Ji Ego Ga Anu Nwam (tracks 3 and 4) are sung in Igbo, with all the percussive wonders that Igbo culture has to offer, filtered through a jazzy Afrobeat improvisational spectrum. Never before. Never again. New Afrobeats, in old bottles.
Buy/Stream the album here: https://orcd.co/discodemands6
Al Kent, Scotland’s foremost Disco aficionado and founder of the Million Dollar Orchestra, returns to BBE Music with a 6th volume of his famed ‘Disco Demands’ compilation series.
With all previous editions of ‘Disco Demands’ released as CDs on Al’s ‘Million Dollar Disco’ label, in 2012 we were delighted to release ‘The Best Of Disco Demands‘ across two glorious double vinyl albums. Taking the next step on the ‘Disco Demands’ journey in partnership, Volume 6 sees another incredible selection of obscure dance-floor soul selected and edited by Al Kent, fully licensed from the original artists, remastered and ready for a new generation of fans to discover.
Recorded during the late 70s and early 80s, the records chosen for Disco Demands Part Six may be hard to find, but don’t be confused: they have been selected solely for maximum dance-floor enjoyment. Al’s love of powerful string arrangements and bass-line led grooves are evident not only in his picks, but also in his subtle edits; removing a hint of cheese here, extending a particularly effective instrumental section there.
“Most of the tracks I’ve chosen for this album have been with me for some time – I’ve played them on and off as a DJ for years. And though that might seem like a lazy or selfish option when compiling an album, it also fits nicely with the concept that the album is primarily aimed at DJs and dancers. I’ve seen first hand how a crowd reacts to these choices. I’ve bought the records, rearranged the best bits and tested them on a room full of dancing drunks so you can confidently do the same…” – Al Kent, 2019
Buy/Stream the EP here: https://orcd.co/dishwaterblues3
Luis Radio, Souldynamic & Margaret Grace return with a third and final helping of ‘Dishwater Blues’, offering up five more elegant, soulful House cuts.
The EP opens with ‘Heaven’, a delightfully poised deep groove with powerfully spiritual lyrics from Margaret Grace, jazzy chords and tight, bouncy drums. ‘Supernatureal’ delivers more of a straight up House feel with gospel-influenced organs and life-affirming lyrics, plus a prodigious piano solo. ‘Set Fire To The Rain’ shows off a moodier side of Grace’s songwriting, with atmospheric strings and dramatic chords. ‘Moving On’ lays down a hypnotic groove with rhythmic stabs, over which the vocals simply soar. Finally, bonus track ‘Live, Love Dance’ lays out a pretty good blueprint for a happy existence, with an old-school club feel summoned up by classic 808 drums, rolling bass and chopped-up vocals.
More about the artists: Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen. Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy / Stream: https://orcd.co/quartremixed
A year after the release of Vince Watson’s ‘Life is Beautiful’ album, released under new alias ‘Quart’, BBE Music revisits the project with brand new remixes from Richard Earnshaw, The James L’Estraunge Orchestra and Sumsuch.
Heralding a new chapter in respected Glaswegian electronic producer Vince Watson’s artistic life, the moniker ‘Quart’ is short for The Vince Watson Quartet, a somewhat redundant title, given that Vince plays every instrument himself. Released on BBE Music in August 2018, ‘Life Is Beautiful’ fully showcased Vince’s abilities as a composer, crafting classical- tinged, downtempo and jazz-infused pieces, sounds that he’s teased and hinted at throughout his career, even within his techno productions. The album struck a chord with listeners all over the globe thanks to its languid, warm instrumental sound, which has consistently garnered impressive streaming numbers ever since its release. With a second ‘Quart’ album underway in the studio, BBE decided to return to the project, commissioning a selection of remixes from some of our favourite artists.
One half of Deep House chart toppers Spiritchaser, Richard Earnshaw will need no introduction to lovers of the jazzy, soulful side of Dance Music. His rework of ‘Inspiration’ bears many hallmarks of the Spiritchaser sound, delicately weaving the original elements in and out of an understated, spiritual Deep House groove.
Releasing mesmerising debut ‘Eventual Reality’ on BBE in 2017, we’re delighted to have The James L’Estraunge Orchestra back on the label for a complete remake of ‘Thinking Of You’, re-imagining the track as a bossa-infused, string laden, cinematic, jazzy epic.
Finally, one half of transatlantic duo Mega Jawns and BBE teamster Sumsuch turns in a subtle version of the album’s title track ‘Life Is Beautiful’, staying faithful to the source while adding hypnotic arpeggios, a head-nodding drum break and some original lead guitar.
Out now on vinyl, CD or digital formats. Buy / Stream the album: https://orcd.co/tabansistudioband
Tabansi Studio Band – Wakar Alhazai Kano & Mus’En Sofua: four incredible slices of almost- undiscovered late-70s/early 80s Afrobeat magic, but not Fela’s Yoruba/Pidgin Afrobeat.
This is Igbo and Hausa Afrobeat- two very different and rarely heard styles. For the first time anywhere, BBE is proud to reissue back to back two LPs that are so elusive that many Afro heads doubted their very existence until now.
The beats are laid down by the seven legendary Martins Brothers – of ‘Money’ fame- whilst vocals are courtesy of a multi-lingual Igbo legend, Prof. Goddy Ezike, one of the most extraordinary voices out of Africa, up there with Youssou N’Dour and Salif Keita, whose half- century career has, like fine wine, simply improved his voice.
Wakar Alhazai Kano and Lokoci Azumi Ta Wuca (tracks 1 and 2) draw on Northern Hausa music, with its Islamic inflections and skipping 12/8 time signatures more typical of the string and wind-based instrumentation of Kano and the broader sub-Saharan musical palette.
Kama Sofos and Aka Ji Ego Ga Anu Nwam (tracks 3 and 4) are sung in Igbo, with all the percussive wonders that Igbo culture has to offer, filtered through a jazzy Afrobeat improvisational spectrum. Never before. Never again. New Afrobeats, in old bottles.
Buy / Stream: https://orcd.co/stopover BBE Music presents the sixth release in its acclaimed J Jazz Masterclass Series: ‘Stop Over’ by Hideto Sasaki – Toshiyuki Sekine Quartet +1. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon.
Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this.
Licensed and released with the approval of Toshiyuki Sekine himself, ‘Stop Over’ will be available for download and streaming, as a CD and double vinyl LP, the first vinyl reissue of this amazing album since originally slipping out to family and friends in 1976. With a deluxe packaging and translated sleeve notes, there will also be new notes and an interview with Toshiyuki Sekine.
The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Stream / Download: https://orcd.co/dont_go
One half of Mega Jawns, musician and producer Will Sumsuch joins forces with jazz vocalist and Alice Russell band member Matty Eeles for warm, soulful downtempo ballad ‘Don’t Go’.
Will and Matty began playing and recording together around a decade ago in Brighton, UK, performing improvised live PA sets around local venues. They’ve collaborated on several releases for Will’s Colour and Pitch label, as well as sublime deep house cut ‘This Old Town’, a charity single to raise funds for mental health organisation ‘Mind’, which made waves across the electronic music world back in 2013 (and continues to raise funds to this day).
Written and recorded circa 2015 but only now seeing the light of day, ‘Don’t Go’ is a deeply touching, heartfelt slice of downtempo soul, with smooth Rhodes piano and mournful live guitar, perfectly complimenting Matty’s sultry vocal. Second track ‘One Together’ evolves subtly from one single piano note into an expansive spine-tingling piece, cinematic and quite unique.
About the artists: Sumsuch is a music-maker, DJ and writer from the South coast of England, running his own label Colour and Pitch as well as releasing on (and working with) BBE and penning articles and features for Chicago’s 5 Magazine.
Also hailing from the South coast, Matty Eeles is a highly accomplished jazz singer, training with improv legend Keith Tippett in the 90s before joining Alice Russell’s band as a backing vocalist and finding constant demand for her “luscious vocals”, as described by BBC Radio 6’s Nemone. Recently Matty formed new 6 piece band Bungaroosh with 12 Stone Toddler’s Ben Jones; they are currently working on their first album.
Buy/Stream the album here on Vinyl/CD/Digital: https://orcd.co/soulgliding
Former member of A Forest Mighty Black and founder of Trüby Trio, Rainer Trueby presents his new compilation, Soulgliding, released on BBE Music.
Starting life as a group on Facebook, ‘Soulgliding’ is a phrase coined by Rainer Trueby to describe the more languid, smoother side of 2-Step, Boogie, Modern Soul and even Jazz. This silky collection spans several decades and sums up what Soulgliding is all about: evocative airy music that feels like a dream-flight across a friendly sky.
Or, as Patrick Forge puts it in his wonderful sleeve notes…
“Soulgliding….. It’s all in that word, a stroke of genius, no explanation needed, I knew what it was about before I even read the rules. Anyway there was only one rule that really mattered, the speed limit, nothing beyond 110bpm. What I didn’t know when Rainer first convened the eponymous Facebook group was just how addictive it would be. Several months of sharing, liking, commenting, loving and frantic dives into Discogs later, and Soulgliding has become a thing. A genre? Well, almost. This selection lovingly compiled by Rainer himself goes a long way to solidify the notion and stake a claim on the territory.
This set of gliders has all the elements; from the slow (enough!) boogie of Crystal Winds, to the jazzy excursions courtesy of Ambiance and Les Hooper, and a clutch of tunes that are closer to the original 2-Step blueprint from Demo Cates, Bridge, Cloud One and Donna McGhee. Then there are the eighties drum machine grooves of Patrice Rushen and Fifth Of Heaven and the ethereal beatless magic of Peter Brown’s “Without Love”. A selection that manages to amalgamate plenty of obscurities without losing the essence, a selection which shimmers, soothes, inspires……glides.”
Buy / Stream the album: https://orcd.co/blackatlantica
BBE Music is proud to present the first official compilation of edits by Berlin DJ producer and label owner Daniel Haaksman, titled “Black Atlantica Edits”. In 2004, Haaksman put Brazilian baile funk on the map with his seminal “Rio Baile Funk Favela Booty Beats” compilation. Today he runs Man Recordings, Europe ́s leading tropical bass label, which has put out more than one hundred releases cultivating trans-continental music and sound dialogues between Europe, South America and Africa. For “Black Atlantica Edits”, Daniel presents ten dancefloor-friendly reworks, made both from vintage and current tracks, from all across the Americas and Africa. Featuring a diverse cast of international artists including Francis Bebey, CK Mann, Soul Brothers, Bonde Do Rôlé and Kaba Blon, this album explores the Afro-Latin diaspora, with edits that consistently grace the record crates of Gilles Peterson and Mr Scruff among others. The album’s title refers to the Paul Gilroy's 1993 book “The Black Atlantic : Modernity and Double Consciousness”. In it Gilroy examines how the Black diasporic history of the Atlantic challenges art and knowledge to find new forms - with music being particularly important. Daniel Haaksman picked up on Gilroy ́s idea of the Black Atlantic as a transnational cultural realm when putting together his musical deconstructions and reworks for his “Black Atlantica Edits”. Daniel intentionally added an “a” to the “Atlantic” to point out to the non- English, Portuguese, Spanish or French speaking cultures that are part of the wider Black Atlantic space, e.g. Brazil and Angola, and to a further extent also countries like Peru, Cameroon or Mali, which all have been touched by the trans-continental dialogues and its hybrid culture.
Al Kent celebrates the release of Disco Demands Part Six with this exclusive DJ mix.
Buy / Stream the album: https://orcd.co/discodemands6
Buy / Stream: https://orcd.co/quartremixed
A year after the release of Vince Watson’s ‘Life is Beautiful’ album, released under new alias ‘Quart’, BBE Music revisits the project with brand new remixes from Richard Earnshaw, The James L’Estraunge Orchestra and Sumsuch.
Heralding a new chapter in respected Glaswegian electronic producer Vince Watson’s artistic life, the moniker ‘Quart’ is short for The Vince Watson Quartet, a somewhat redundant title, given that Vince plays every instrument himself. Released on BBE Music in August 2018, ‘Life Is Beautiful’ fully showcased Vince’s abilities as a composer, crafting classical- tinged, downtempo and jazz-infused pieces, sounds that he’s teased and hinted at throughout his career, even within his techno productions. The album struck a chord with listeners all over the globe thanks to its languid, warm instrumental sound, which has consistently garnered impressive streaming numbers ever since its release. With a second ‘Quart’ album underway in the studio, BBE decided to return to the project, commissioning a selection of remixes from some of our favourite artists.
One half of Deep House chart toppers Spiritchaser, Richard Earnshaw will need no introduction to lovers of the jazzy, soulful side of Dance Music. His rework of ‘Inspiration’ bears many hallmarks of the Spiritchaser sound, delicately weaving the original elements in and out of an understated, spiritual Deep House groove.
Releasing mesmerising debut ‘Eventual Reality’ on BBE in 2017, we’re delighted to have The James L’Estraunge Orchestra back on the label for a complete remake of ‘Thinking Of You’, re-imagining the track as a bossa-infused, string laden, cinematic, jazzy epic.
Finally, one half of transatlantic duo Mega Jawns and BBE teamster Sumsuch turns in a subtle version of the album’s title track ‘Life Is Beautiful’, staying faithful to the source while adding hypnotic arpeggios, a head-nodding drum break and some original lead guitar.
Buy/Stream the album here: https://orcd.co/royaldrummers
Rediscovered, remastered and reissued by BBE Music, this rare and valuable live recording of the investiture ceremony of an Eze-Nri king boasts musical elements essentially unchanged for more than a thousand years.
This unique and very rare recording, in many ways, it is probably one of the most culturally significant of all BBE’s Tabansi Gold Series releases, delving deep into the iconic Nigerian label’s back catalogue. Although present-day West Africa is composed almost entirely of republics, there remain several venerable traditional and ritual kingships. Undoubtedly, the oldest of these in Nigeria is the Nri kingdom of the Igbo people. The origins of the Igbo, even before the Nri Kingdom, still remain uncertain, despite much research. According to current archaeological opinion, it’s no exaggeration to suppose that what you hear on this LP is pretty similar to what you might have heard in the early agrarian Igboland settlements at the time of Christ, or before.
The royal investiture music group consists of three or four hand and stick drums of varying size, and a large Alou Ogene (an Igbo cowbell), which is struck by two seated players, each facing the other, each striking the bell in intricate cross-patterns. In this recording, there is also the unique Oja flute- a hand-carved piece of wood with a cavity inside; the top has a wide opening to fit the shape of the human lower lip, a small hole at the bottom and two smaller holes close to the top on the opposite side. The artist blows through the wide opening, while placing thumb and ring fingers on the two smaller holes to control rhythm and tempo.
It’s just one more example of the exceptional nature of the Tabansi Gold reissue catalogue: soul, afrobeat, funk, disco, highlife, soukous… and ancient music of the forefathers, echoing down the centuries to occupy an equal status with today’s dancefloor classics.
Buy / Stream the album: https://orcd.co/bellydancedisco
The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.
In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.
Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.
The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.
Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.
Buy/Stream the album here: https://orcd.co/revolution
Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums.
Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle!
Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001.
Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday.
Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased.
But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.
Buy / Stream the album: https://orcd.co/soulgliding
Former member of A Forest Mighty Black and founder of Trüby Trio, Rainer Trueby presents his new compilation, Soulgliding, released on BBE Music.
Starting life as a group on Facebook, ‘Soulgliding’ is a phrase coined by Rainer Trueby to describe the more languid, smoother side of 2-Step, Boogie, Modern Soul and even Jazz. This silky collection spans several decades and sums up what Soulgliding is all about: evocative airy music that feels like a dream-flight across a friendly sky.
Or, as Patrick Forge puts it in his wonderful sleeve notes…
“Soulgliding….. It’s all in that word, a stroke of genius, no explanation needed, I knew what it was about before I even read the rules. Anyway there was only one rule that really mattered, the speed limit, nothing beyond 110bpm. What I didn’t know when Rainer first convened the eponymous Facebook group was just how addictive it would be. Several months of sharing, liking, commenting, loving and frantic dives into Discogs later, and Soulgliding has become a thing. A genre? Well, almost. This selection lovingly compiled by Rainer himself goes a long way to solidify the notion and stake a claim on the territory.
This set of gliders has all the elements; from the slow (enough!) boogie of Crystal Winds, to the jazzy excursions courtesy of Ambiance and Les Hooper, and a clutch of tunes that are closer to the original 2-Step blueprint from Demo Cates, Bridge, Cloud One and Donna McGhee. Then there are the eighties drum machine grooves of Patrice Rushen and Fifth Of Heaven and the ethereal beatless magic of Peter Brown’s “Without Love”. A selection that manages to amalgamate plenty of obscurities without losing the essence, a selection which shimmers, soothes, inspires……glides.”
Buy/Stream the album here: https://orcd.co/reachup2
DJ Andy Smith returns to BBE Music with a second stunning installment of his compilation series ‘Reach Up – Disco Wonderland’, released on triple vinyl, double CD and digital formats.
“Volume 2 takes the baton from Volume 1 and runs with it” says Andy. “It brings new Disco heat, with unreleased tracks & remixes by myself, Full Intention & Nick Reach Up, Crissy Kybosh and Bad Bikini & Disco Circus. These fresh takes rub nicely alongside tried and tested original tracks from the golden age of Disco for all to enjoy.”
In the two years since the first volume of ‘Reach Up – Disco Wonderland’ was issued, Andy’s ‘Reach Up’ DJ collective have been busy with performances at festivals such as Bestival, Festival No.6 and Eastern Electrics, as well as a host of club gigs from London to Lisbon and many spots in between. Their monthly South London Soul Train residency in Peckham, London is now in its third year, while their monthly Soho Radio show has been streamed and downloaded by thousands of Disco lovers Worldwide.
Just like Volume 1 before it, Reach Up – Disco Wonderland Volume 2 takes in forgotten boogie, funk, dance-floor soul and early house gems from the 70s and 80s, as well as a few contemporary productions created with a nod to the classics. Ranging from obscure West Indian pop artists to Chicago Disco royalty, ‘Reach Up – Disco Wonderland Volume 2’ searches high and low to find the heaviest grooves and purest deep-down good vibes. An exclusive DJ mix is included on the CD version for maximum ‘Reach Up’ pleasure.
Buy/Stream the album here: https://orcd.co/royaldrummers
Rediscovered, remastered and reissued by BBE Music, this rare and valuable live recording of the investiture ceremony of an Eze-Nri king boasts musical elements essentially unchanged for more than a thousand years.
This unique and very rare recording, in many ways, it is probably one of the most culturally significant of all BBE’s Tabansi Gold Series releases, delving deep into the iconic Nigerian label’s back catalogue. Although present-day West Africa is composed almost entirely of republics, there remain several venerable traditional and ritual kingships. Undoubtedly, the oldest of these in Nigeria is the Nri kingdom of the Igbo people. The origins of the Igbo, even before the Nri Kingdom, still remain uncertain, despite much research. According to current archaeological opinion, it’s no exaggeration to suppose that what you hear on this LP is pretty similar to what you might have heard in the early agrarian Igboland settlements at the time of Christ, or before.
The royal investiture music group consists of three or four hand and stick drums of varying size, and a large Alou Ogene (an Igbo cowbell), which is struck by two seated players, each facing the other, each striking the bell in intricate cross-patterns. In this recording, there is also the unique Oja flute- a hand-carved piece of wood with a cavity inside; the top has a wide opening to fit the shape of the human lower lip, a small hole at the bottom and two smaller holes close to the top on the opposite side. The artist blows through the wide opening, while placing thumb and ring fingers on the two smaller holes to control rhythm and tempo.
It’s just one more example of the exceptional nature of the Tabansi Gold reissue catalogue: soul, afrobeat, funk, disco, highlife, soukous… and ancient music of the forefathers, echoing down the centuries to occupy an equal status with today’s dancefloor classics.
Buy / Stream the album: https://orcd.co/bellydancedisco
The first release in Ernesto Chahoud’s ‘Middle Eastern Heavens’ reissue series for BBE Music, we are delighted to present Lebanese maestro Ihsan Al-Munzer’s 1979 album ‘Belly Dance Disco’.
In late 70s and early 80s Beirut, Lebanese organist, composer and arranger Ihsan Al-Munzer made a series of pioneering synth-driven fusion albums that reimagined Middle Eastern music. The records came at a pivotal time in Lebanon’s musical history of avant garde experimentation that was blossoming, just as the country’s 15-year civil war took hold.
Ihsan Al-Munzer’s first release as a solo artist, ‘Belly Dance Disco’ aimed to fuse ‘Western’ modern music and bellydance to make it more accessible to the local audience in the late 1970s. “I wanted to put a mixture of European beat with Arabic percussion, but I made the European rhythm and harmony very easy to listen to for the Arabic ear – soft and understandable” says Al- Munzer. Today, the composer’s music has made the return journey back to the West; with tracks on the album featured by hip hop artists such as Mos Def, who sampled Al-Munzer’s composition ‘Joy of Lina’ on his 2009 song ‘The Embassy’.
The 10-track album was released in 1979 on the legendary Voix De L’Orient label, which was also home to pioneering Lebanese composers The Rahbani Brothers. One of the earliest artists to introduce the synthesizer to Middle Eastern music, Al-Munzer leads the band, playing the main melody lines on the Kawai Organ and Solina String Synthesizer. Three of his original compositions feature on the album, alongside creative re-imaginings of Turkish and Arabic folklore and modern classics, pushing the boundaries of bellydance music to chime with the international scene.
Al-Munzer’s five titles from the 1970s and 1980s are part of BBE’s ‘Middle Eastern Heavens’ reissue series, a collection of groundbreaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud.
Stream / Download: https://orcd.co/dont_go
One half of Mega Jawns, musician and producer Will Sumsuch joins forces with jazz vocalist and Alice Russell band member Matty Eeles for warm, soulful downtempo ballad ‘Don’t Go’.
Will and Matty began playing and recording together around a decade ago in Brighton, UK, performing improvised live PA sets around local venues. They’ve collaborated on several releases for Will’s Colour and Pitch label, as well as sublime deep house cut ‘This Old Town’, a charity single to raise funds for mental health organisation ‘Mind’, which made waves across the electronic music world back in 2013 (and continues to raise funds to this day).
Written and recorded circa 2015 but only now seeing the light of day, ‘Don’t Go’ is a deeply touching, heartfelt slice of downtempo soul, with smooth Rhodes piano and mournful live guitar, perfectly complimenting Matty’s sultry vocal. Second track ‘One Together’ evolves subtly from one single piano note into an expansive spine-tingling piece, cinematic and quite unique.
About the artists: Sumsuch is a music-maker, DJ and writer from the South coast of England, running his own label Colour and Pitch as well as releasing on (and working with) BBE and penning articles and features for Chicago’s 5 Magazine.
Also hailing from the South coast, Matty Eeles is a highly accomplished jazz singer, training with improv legend Keith Tippett in the 90s before joining Alice Russell’s band as a backing vocalist and finding constant demand for her “luscious vocals”, as described by BBC Radio 6’s Nemone. Recently Matty formed new 6 piece band Bungaroosh with 12 Stone Toddler’s Ben Jones; they are currently working on their first album.
Al Kent, Scotland’s foremost Disco aficionado and founder of the Million Dollar Orchestra, returns to BBE Music with a 6th volume of his famed ‘Disco Demands’ compilation series.
With all previous editions of ‘Disco Demands’ released as CDs on Al’s ‘Million Dollar Disco’ label, in 2012 we were delighted to release ‘The Best Of Disco Demands‘ across two glorious double vinyl albums. Taking the next step on the ‘Disco Demands’ journey in partnership, Volume 6 sees another incredible selection of obscure dance-floor soul selected and edited by Al Kent, fully licensed from the original artists, remastered and ready for a new generation of fans to discover.
Recorded during the late 70s and early 80s, the records chosen for Disco Demands Part Six may be hard to find, but don’t be confused: they have been selected solely for maximum dance-floor enjoyment. Al’s love of powerful string arrangements and bass-line led grooves are evident not only in his picks, but also in his subtle edits; removing a hint of cheese here, extending a particularly effective instrumental section there.
“Most of the tracks I’ve chosen for this album have been with me for some time – I’ve played them on and off as a DJ for years. And though that might seem like a lazy or selfish option when compiling an album, it also fits nicely with the concept that the album is primarily aimed at DJs and dancers. I’ve seen first hand how a crowd reacts to these choices. I’ve bought the records, rearranged the best bits and tested them on a room full of dancing drunks so you can confidently do the same…” – Al Kent, 2019
Buy / Stream the album: https://orcd.co/revolution Revolution (Live Disco Show In New York City) is the fourth and final BBE reissue of Sidiku Buari’s unique and sought-after body of African Disco albums.
Side 1 is (possibly!) ‘live’ throughout, from a 1979 show at the (possibly mythical!) La Cheer Nightclub, NYC, but very well recorded for a ‘live’ album with clean, bright top notes, sharp percussion and heavy bass-lines. Keep The Rhythm Going segues into Ofey Karambani reminiscent of the Kongos’ massive Loft Club floorfiller Anikana-O, whilst This Is Music and Disco Soccer keep up the 120-140bpm pace to complete a side that rocks enough for the lazier DJ to play from start to finish without lifting the needle!
Side 2 consists of four very varied tracks all recorded at Aire L.A.Studios, the two openers Revolution and Together We Can Rebuild It (Ghana Motherland) being polemics against government and army corruption, and a battle-cry for Flight Lieutenant Jerry Rawlings, who ruled the country for a brief period in 1979 when this recording was made, later serving as Ghana’s President from 1981 to 2001.
Then there’s a perennial crowd-pleaser Merry Christmas and Happy New Year, Side 2 rounding off with the super-heavy Afrobeat-Disco groover, Happy Birthday.
Originally a national athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Sidiku Buari then moved to America on a music scholarship at The York Institute, obtained as a result of his athletic achievements. When one of York’s music teachers, Irvin Mechanic, heard him singing in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. Four classic albums followed in quick succession, after which Buari’s solo output abruptly ceased.
But it was an ending that held within it the seeds of greater musical achievements to come. In 1990 he was appointed to the board of the Musicians’ Union of Ghana, later becoming its President from 1999 until 2007. In 2019, he was honoured with a Lifetime Achievement Award by the Pan-African Republic Honorary Award Society for ‘meritorious contribution to the development of music and movie industries in Ghana’.
Buy / Stream the album: https://orcd.co/reachup2
DJ Andy Smith returns to BBE Music with a second stunning installment of his compilation series ‘Reach Up – Disco Wonderland’, released on triple vinyl, double CD and digital formats.
“Volume 2 takes the baton from Volume 1 and runs with it” says Andy. “It brings new Disco heat, with unreleased tracks & remixes by myself, Full Intention & Nick Reach Up, Crissy Kybosh and Bad Bikini vs Disco Circus. These fresh takes rub nicely alongside tried and tested original tracks from the golden age of Disco for all to enjoy.”
In the two years since the first volume of ‘Reach Up – Disco Wonderland’ was issued, Andy’s ‘Reach Up’ DJ collective have been busy with performances at festivals such as Bestival, Festival No.6 and Eastern Electrics, as well as a host of club gigs from London to Lisbon and many spots in between. Their monthly South London Soul Train residency in Peckham, London is now in its third year, while their monthly Soho Radio show has been streamed and downloaded by thousands of Disco lovers Worldwide.
Just like Volume 1 before it, Reach Up – Disco Wonderland Volume 2 takes in forgotten boogie, funk, dance-floor soul and early house gems from the 70s and 80s, as well as a few contemporary productions created with a nod to the classics. Ranging from obscure West Indian pop artists to Chicago Disco royalty, ‘Reach Up – Disco Wonderland Volume 2’ searches high and low to find the heaviest grooves and purest deep-down good vibes. An exclusive DJ mix is included on the CD version for maximum ‘Reach Up’ pleasure.
Check out the album: : https://orcd.co/staffselections2019
BBE Music proudly presents 2019’s Staff Selections; a bumper package celebrating the last 12 months in the life of Barely Breaking Even, hand picked by the label team.
It’s been another action packed year in for BBE; one which opened with a sad goodbye to our old friend and UK music legend Paul ‘Trouble’ Anderson and was dominated by our landmark 500th release, a special Louie Vega / Leroy Burgess remake of ‘Barely Breaking Even‘- the track Peter Adarkwah decided to name his label after, all those years ago.
The release of Trouble’s last production ‘Happy Day‘ was a bitter-sweet moment for us all, as was the rediscovery of a previously un-issued extended version of J Dilla‘s ‘Love Jones‘. Commencing the mammoth task of remastering and reissuing the catalogue of Nigeria’s iconic ‘Tabansi‘ label soon kept us too busy to dwell on our losses, and the discovery of a long-lost, unheard Ebo Taylor album had us jumping for joy. We enjoyed a summer club hit in the form of Mark Knight and Mike City‘s effervescent track ‘Fire Burning‘, shed new light on three albums by Ghanaian Disco master Sidiku Buari, and presented a second volume of our acclaimed ‘J Jazz‘ compilations series.
BBE’s eclectic, inclusive catalogue is reflected across these 38 tracks, which range from African township Funk to underground House music and touch on almost every genre in between. Cuts from MF Robots, V and Sean Khan hint at our 2020 schedule, as all three acts have full length albums dropping on the label next year.
Whether casual listener or lifelong vinyl digger, we’d like to thank all of you who’ve supported the label this year and all the ones that came before it: team BBE appreciates you more than words can express.
Buy/Stream the album: orcd.co/discosoccer
BBE Music is delighted to present the first ever reissue of ‘Disco Soccer’, the 1979 album from Ghanaian sportsman turned musician Alhaji Sidiku Buari.
Originally an athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Buari moved to America on a music scholarship from The York Institute, obtained as a result of his athletic achievements.
Buari soon became enthused by baseball, training with the York team and occasionally playing in matches. When one of York’s music teachers heard him singing inspirational team-builder songs and chants for his side – in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them.
It won’t surprise you to hear that said Americans loved the demos- so, in 1975, he recorded his first album – the first of fifteen. Buari went on to collaborate with Bernard Purdie, Sugar Hill’s Steve Jerome and Salsoul’s bassman, Gordon Edwards.
A switch to Polydor in 1979 produced Disco Soccer, and if you’re into disco or boogie or any hybrid thereof, this is a must-have album. A homage, Ay to Zee, to New York’s late 70s disco scene, filtered through an Accra late-night haze: Ga vocals and West African percussion all the way, all of it composed and produced by the artist himself. A generous eleven tracks of all killer-no-filler boogie business: one of those albums you just put on, and leave on.
An essential partner to BBE’s double Buari LP Feelings/Sidiku Buari & His Jam Busters, Disco Soccer is reissued from the original masters and reproduced on 180-gram vinyl with new liner notes and original artwork.
Buy / Stream the album: orcd.co/erickol Part of BBE Music’s ‘Tabansi Gold’ African reissue series, Eric Kol’s rare boogie / disco album ‘Today’ epitomises Nigeria on the musical move in the early 80s. With the slow but relentless shrinkage of old-school musical talent and withdrawal of international record company financing following the Biafran war as well as changing tastes, both in Yoruba as well as Igbo and other communities, consumers wanted a home-grown version of what they could hear on American and European airwaves.
Enter seasoned soulful vocalist Eric Kol, multi-instrumentalist and all-round arranging talent Jake Sollo (ex Funkees, Osibisa, etc.) and Lagos studio pioneer Chief Tabansi, plus crew.
Jake Sollo’s synth-boogie magic can be heard to best effect on ‘Rain In My Heart’ and ‘You’re My Solution’ (a big local radio hit back then). Meanwhile, the ‘strings’n’things’ disco vibe is resplendent in ‘the opener ‘Let Your love Rule My World’, whilst ‘I’ll Sing A Song’ deepens the tempo with a soulful ballad arrangement.
This is the first fully authorised vinyl reissue of a boogie classic that almost never appears for sale, even on eBay, but takes pride of place on every seasoned Nigerian vinyl junkie’s ‘want’ lists.
Buy / Stream the album 'Mosese': orcd.co/zorro
In 1979 the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.
CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable.
Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion.
Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.
In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that.
Buy / Stream the single: orcd.co/finderskeepers
Ahead of a hotly anticipated full-length album slated for release on BBE in early 2020, MF Robots make their label debut with a funkafied new version of the slept-on Chairmen Of The Board classic ‘Finders Keepers’.
Coming together in 2013 as members of the Brand New Heavies, band founder Jan Kincaid and vocalist Dawn Joseph instantly clicked and began writing new songs within a week of first meeting. Calling themselves MF Robots, a subtle reference to today’s generic musical landscape, the duo left the Heavies to pursue their burgeoning partnership, which has already borne a great deal of fruit in a short space of time.
Currently putting the finishing touches to their (as yet untitled) new album for BBE, we’re excited to offer up a taste of the MF Robots sound in the form of this stunning cover of 1974 Chairmen Of The Board track ‘Finders Keepers’. Dawn Joseph’s powerful vocals shine bright on this uptempo, horn and clav-laden version, while Jan Kincaid’s distinctive rhythmic arrangement keeps the track rolling forward with a hefty portion of funk momentum.
Buy/Stream the album: orcd.co/distantvoice
BBE Music is excited to present ‘Distant Voice’, the new EP from London saxophonist and multi-instrumentalist Sean Khan.
Founder of SK Radicals and pioneer of the UK Broken Beat sound, early in the new millennium Sean began collaborating with Bugz in the Attic, Kaidi Tatham, Daz-I-Kue, Recloose and Mark De Clive Lowe, carving out a sound which has gone on to influence artists all over the globe. Critically acclaimed solo projects and a successful live band followed, seeing Sean perform to sell-out crowds at Ronnie Scott’s and The Jazz Café. His most recent album project, 2016’s ‘Palmares Fantasy’, is a sumptuous Brazilian affair featuring legendary local musician Hermeto Pascoal, Azymuth drummer Ivan ‘Mamão’ Conti and The Cinematic Orchestra’s front-woman Heidi Vogel. With a new long player, ‘Supreme Love’, close to completion and slated for release on BBE in early 2020, Sean Khan’s ‘Distant Voice’ EP provides a compelling snapshot into his musical influences.
Says Sean: “I have always strived to make something beautiful, distilled down to the essence of the sound I am looking for. This means I really have to know soul music, jazz music, some classical music etc., in order to be convincing. So I have taken 4 different genres and played with them in my own way. ‘Feel the Light’ is my take on spiritual soul, ‘The Chaos’ is my take on the Parliament funk thing with some politics thrown in, ‘The Long Goodbye’ is my take on the quintessential UK sound of trip hop, and finally I went all out on ‘The Savage Detectives’ and played some almost pure free-jazz-free-funk.”
Describing himself as a “career outsider”, during the Broken Beat era Sean Khan found himself bringing a musician’s ear to a scene dominated by DJs and producers. “I heard music in a slightly different way, not better or worse, just slightly different” he says. Thanks to his work in electronic music, he found himself bringing an equally different approach to the world of jazz. It is this outlier status that gives the EP its name: a Distant Voice, inviting the listener to come on a journey away from names and labels, travelling closer to the essence.
Buy / stream the album: orcd.co/collections1 London production hero and DJ Simbad (aka SMBD) joins forces with BBE Music for retrospective album ‘Collections Vol.1’.
Despite having produced a stellar series of remixes for the label over the years, ‘Collections Vol.1’ is Simbad’s debut on BBE as an artist, so he’s brought a few friends along for the ride. The album features guest vocals from Lulu James, LaAerial, Steelo, Entek, Byron The Aquarius, Rae Rae, Claudia Smith and Miryam Solomon, all deftly framed by Simbad’s distinctive, warm, jazz-infused production.
Although a constant traveller, Simbad’s affinity with the UK, and in particular London, has placed him at the centre of the city’s music scene for many years now; with influences and inspirations flowing in both directions between him and his adopted hometown.
Says Simbad: “I came to London end of the 90’s with my saxophone for a summer and ended up staying. This is the place where my music journey as a DJ & a producer truly began. The culture of this island hit me hard & deep. And because most of the stuff I’ve done is still unreleased (and I never stop making music where ever I go) I am absolutely delighted to share this collection of tunes featuring some of the most talented singers (and friends for life) that I had the pleasure to work in these last 10-15 years, recorded in my London studio sanctuary throughout the years. And hopefully even the old songs still stand the ground…”
Buy/Stream the album here: https://orcd.co/jambusters
BBE Music presents two back-to-back, impossibly scarce and NYC Afrodisco albums by Sidiku Buari & His Jambusters, originally released on short-lived and highly collectable imprint ‘Precious Records’.
Accra funk, village-party, anthem-packed LPs from the prolific output of Alaji Sidiku Buari, gold-winning sprint athlete, dancer, singer, arranger, composer, cinema and club founder, award-winning music video producer – and, latterly, president of Ghana’s Musicians’ Union as well as recipient of a Lifetime Achievement Award of the Pan- African Society.
Sharp Club 54 production values – Music, Feelings, Karambani- combine with Accra village-style party vibes – Yayo Papa, Minsumobo- and Buari’s socially conscious lyrics – Anokwar, Power To My People- to produce more than two hours’ worth of music that will have you stuttering for superlatives.
Buy / stream the album 'Topology': orcd.co/topology
BBE Music presents the fourth release in their acclaimed J Jazz Masterclass Series: Topology by Makoto Terashita and Harold Land. Originally released in 1983 on the cult Aketa’s Disk label, Topology captures a surprising yet fascinating and engaging collaboration between a young Japanese jazz pianist and an elder American statesman of jazz.
Reissued by BBE Music for the first time since original release 36 years ago, Topology showcases the extraordinary compositional and playing skill of Makoto Terashita, the young pianist responsible for five of the album’s six tracks, alongside the confident and seasoned tones of Harold Land, respected US veteran sax player and former colleague of some of the leading jazz artists of the 50s, 60s and 70s including Max Roach, Clifford Brown, Gerald Wilson and Bobby Hutcherson.
By the time he came to record with Terashita in 1983, Land was in his mid-50s and had numerous album credits under his belt, including some twelve albums as leader. In contrast, Terashita was in his early 30s with just one album to his name, his stunning 1978 debut Great Harvest. Notwithstanding the apparent disparity in experience, the creative relationship they fostered is audibly evident in the wonderful music that was captured during the recording session.
Topology kicks off with ‘Dragon Dance’, an epic spiritual jazz tour de force elegantly ushered in by an extended solo piano introduction from Terashita. This track was chosen to open volume 2 of BBE’s universally praised ‘J Jazz’ compilation. The energy and impact of tracks like ‘Dragon Dance’ and the powerful bop of ‘Crossing’- both Terashitsa-penned numbers – is balanced by more nuanced and reflective tracks like Land’s own composition ‘World Peace’. In total, Topology presents the listener with a complete experience of two musicians from different generations and countries united in musical spirit.
A long out of print rarity known only to a handful of Japanese jazz collectors, Topology is now available once more, reissued for the first time as a 45rpm double 180g LP, featuring exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated plus a new extended 3700 word essay by Tony Higgins. Topology is also available as a CD and across digital formats.
The J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy/Stream the album: orcd.co/discosoccer
BBE Music is delighted to present the first ever reissue of ‘Disco Soccer’, the 1979 album from Ghanaian sportsman turned musician Alhaji Sidiku Buari.
Originally an athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Buari moved to America on a music scholarship from The York Institute, obtained as a result of his athletic achievements.
Buari soon became enthused by baseball, training with the York team and occasionally playing in matches. When one of York’s music teachers heard him singing inspirational team-builder songs and chants for his side – in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them.
It won’t surprise you to hear that said Americans loved the demos- so, in 1975, he recorded his first album – the first of fifteen. Buari went on to collaborate with Bernard Purdie, Sugar Hill’s Steve Jerome and Salsoul’s bassman, Gordon Edwards.
A switch to Polydor in 1979 produced Disco Soccer, and if you’re into disco or boogie or any hybrid thereof, this is a must-have album. A homage, Ay to Zee, to New York’s late 70s disco scene, filtered through an Accra late-night haze: Ga vocals and West African percussion all the way, all of it composed and produced by the artist himself. A generous eleven tracks of all killer-no-filler boogie business: one of those albums you just put on, and leave on.
An essential partner to BBE’s double Buari LP Feelings/Sidiku Buari & His Jam Busters, Disco Soccer is reissued from the original masters and reproduced on 180-gram vinyl with new liner notes and original artwork.
Buy/Stream the album: https://orcd.co/distantvoice
BBE Music is excited to present ‘Distant Voice’, the new EP from London saxophonist and multi-instrumentalist Sean Khan.
Founder of SK Radicals and pioneer of the UK Broken Beat sound, early in the new millennium Sean began collaborating with Bugz in the Attic, Kaidi Tatham, Daz-I-Kue, Recloose and Mark De Clive Lowe, carving out a sound which has gone on to influence artists all over the globe. Critically acclaimed solo projects and a successful live band followed, seeing Sean perform to sell-out crowds at Ronnie Scott’s and The Jazz Café. His most recent album project, 2016’s ‘Palmares Fantasy’, is a sumptuous Brazilian affair featuring legendary local musician Hermeto Pascoal, Azymuth drummer Ivan ‘Mamão’ Conti and The Cinematic Orchestra’s front-woman Heidi Vogel. With a new long player, ‘Supreme Love’, close to completion and slated for release on BBE in early 2020, Sean Khan’s ‘Distant Voice’ EP provides a compelling snapshot into his musical influences.
Says Sean: “I have always strived to make something beautiful, distilled down to the essence of the sound I am looking for. This means I really have to know soul music, jazz music, some classical music etc., in order to be convincing. So I have taken 4 different genres and played with them in my own way. ‘Feel the Light’ is my take on spiritual soul, ‘The Chaos’ is my take on the Parliament funk thing with some politics thrown in, ‘The Long Goodbye’ is my take on the quintessential UK sound of trip hop, and finally I went all out on ‘The Savage Detectives’ and played some almost pure free-jazz-free-funk.”
Describing himself as a “career outsider”, during the Broken Beat era Sean Khan found himself bringing a musician’s ear to a scene dominated by DJs and producers. “I heard music in a slightly different way, not better or worse, just slightly different” he says. Thanks to his work in electronic music, he found himself bringing an equally different approach to the world of jazz. It is this outlier status that gives the EP its name: a Distant Voice, inviting the listener to come on a journey away from names and labels, travelling closer to the essence.
Buy/ Stream it here: orcd.co/thejazzroom
UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.
Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.
Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz.
As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut’s Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”.
‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat.
Buy/Stream: orcd.co/animalsgarden
The fifth release in the BBE Music J Jazz Masterclass Series has the perfect combination of rarity and exceptional musicality that inspires seasoned collectors to break out in a sweat. ‘Animals Garden’ by Miyasaka + 5 was originally issued in 1979 on the cult private Japanese label ALM and is reissued for the first time on LP, CD and digital formats.
‘Animals Garden’ was a one-off project led by master drummer Takashi ‘Bear’ Miyasaka and features a powerful and progressive jazz group including saxophonist Koichi Matsukaze, whose ‘Earth Mother’ album has also been reissued by BBE Music.
The four extended tracks on ‘Animals Garden’ exemplify the high standard of playing and arranging that was a characteristic of jazz composed and recorded in Japan during the late 1970s. All four numbers were composed by Miyasaka and the album spans a range of styles, from febrile post-bop and head nodding modal, to deep funky blues and elegiac balladry. The title track was included on J Jazz Volume 2, but the three remaining cuts are equally enchanting.
Buy the album here on Vinyl/CD/Digital: orcd.co/palaver
BBE Music unearths ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor.
If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound.
In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour.
But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years.
Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked.
Yes, replied Peter- but WHAT unissued material?
Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others.
Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.
Buy Stream the album: orcd.co/waikikileaks
BBE Music presents ‘Swing Luau’ an album by ‘The Waikiki Leaks‘, an Italian band venturing into the world of Hawaiian music. Combining Hula, Jazz and Swing styles, the group regularly has dance floors bouncing and listeners’ ears flapping across Italy.
Francesca Faro, also known as Jazz singer “Miss Faro”, has specialized in Swing vocals of the ’30s and 40s. Her voice is inspired by singers like Peggy Lee, Anita O’Day, Helen Foster and Doris Day, to name just a few. In The Waikiki Leaks “Miss Faro” has merged her vocal style with the sounds of Hawaiian music, reinforcing the Swing component of the Hapa Haole genre.
A “cool jazz” aficionado, Filippo Delogu devoted himself to swing music and traditional Jazz from a very young age, becoming a respected rhythm guitarist in the Roman Jazz scene. He brings his solid big band background to the rhythm section of The Waikiki Leaks, contributing to the subtle dialogue between his guitar and Flavio’s steel guitar along with his tight crisp solos.
Alfredo Romeo, a long-time swing drummer, bringing to The Waikiki Leaks his vast knowledge of Afro-Cuban music, enriching the drums with various percussion aids. Have a listen to “Little Brown Gal” and you will understand what I mean.
Double Bass player Light Palone brings a strong Blues and Swing inspired style to The Waikiki Leaks. Taking inspiration from players such as Walter Brown, Red Callender and Eddie Calhoun to name just three.
Flavio Pasquetto, as founding member of The Waikiki Leaks, plays Steel Guitar, ukulele, glockenspiel and sings. In his career as a musician he has focused on Swing, Western Swing, American Roots and Honky Tonk, joining several bands along the way specialising in these genres. Over the years Flavio has developed a profound passion for the music of Hawaii and a great respect for its culture. For this album Flavio chose some well-known standards of the Hapa Haole (Hawaiian Swing) repertoire, as well as some Swing classics, and wrote arrangements for the Trio and the Quintet, adding his personal touch to the music and building on each band member’s talents and skills. The result is a unique sound, combining Hawaiian music with Jazz and Swing. The Waikiki Leaks take inspiration from the great players and musicians from the golden age of Hawaiian Music, Andy Iona and his Islanders, The Hawaiian Village Serenaders with Jules Ah See and Alfred Apaka, David Keli’i, Pua Almeida and The Sunset Serenaders and Billy Hew Len to name a few.
Buy / Stream the album 'Mosese': https://orcd.co/zorro
In 1979 the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.
CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable.
Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion.
Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.
In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that.
Buy / Stream the album: orcd.co/erickol Part of BBE Music’s ‘Tabansi Gold’ African reissue series, Eric Kol’s rare boogie / disco album ‘Today’ epitomises Nigeria on the musical move in the early 80s. With the slow but relentless shrinkage of old-school musical talent and withdrawal of international record company financing following the Biafran war as well as changing tastes, both in Yoruba as well as Igbo and other communities, consumers wanted a home-grown version of what they could hear on American and European airwaves.
Enter seasoned soulful vocalist Eric Kol, multi-instrumentalist and all-round arranging talent Jake Sollo (ex Funkees, Osibisa, etc.) and Lagos studio pioneer Chief Tabansi, plus crew.
Jake Sollo’s synth-boogie magic can be heard to best effect on ‘Rain In My Heart’ and ‘You’re My Solution’ (a big local radio hit back then). Meanwhile, the ‘strings’n’things’ disco vibe is resplendent in ‘the opener ‘Let Your love Rule My World’, whilst ‘I’ll Sing A Song’ deepens the tempo with a soulful ballad arrangement.
This is the first fully authorised vinyl reissue of a boogie classic that almost never appears for sale, even on eBay, but takes pride of place on every seasoned Nigerian vinyl junkie’s ‘want’ lists.
Buy/Stream the EP here: https://orcd.co/dishwaterblues2
US vocalist Margaret Grace returns to BBE Music alongside Italian producers Luis Radio and Souldynamic with the second of three subtle, soulful House EPs entitled ‘Dishwater Blues’.
The EP opens with jazz and gospel-influenced cut ‘You Got’, which showcases Margaret Grace’s natural & intimate delivery perfectly. Second tune ‘This House’ pays tribute to the music we love, with uplifting pianos and smooth chords. ‘Play With Fire’ lays down a classic House bass-line and a catchy vocal hook, enhanced by warm electric pianos. Final track ‘Till I Found You’ builds around a steady, uncluttered bass groove, pushing Grace’s vocal harmonies to the fore, conveying an uplifting lyrical message.
More about the artists: Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen.
Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy the album here: https://orcd.co/swampdogs The Mississippi Swamp Dogs celebrate the rich musical heritage of New Orleans and the Deep South with this heady Gumbo mix of funky, bluesy, soulful and above all, joyful collection of songs. Skilfully and authentically played by masters of the idiom, prepare yourself for a groovy ride through the repertoire of such greats as B.B. King, The Neville Brothers, Sidney Bechet, Dr John and Professor Longhair (H Byrd). Music from the Deep South is honest music. Music to dance to, music to make love to and even to say goodbye to your loved ones to.
The Mississippi Swamp Dogs also love playing music associated with the region. Enjoy a blistering version of Paul Simon’s “Late in the Evening” which totally sums up the joy of a sultry night of music making in a packed club. Then listen to the heart-rendering story of Louisiana, written by Randy Newman a tragic tale pre-empting Hurricane Katrina’s disaster.
Always the love of the music comes over from this talented group of players, drawn from some of London’s finest performers. Paul Miller on vocals and keyboards is probably one of the best blue-eyed soul singers of his generation; Dan Miller on guitar is always spot on whether soloing or adding to the phenomenal groove the band creates. In the engine room no one betters the talents of Manel Alvarez on bass and Jono Lee on drums. On congas, guesting with the band is Paul Urwin. Finally Ned Bennett on saxes and Jeff Williams: bandleader, vocalist and trombone, produce the fattest, juiciest horn sound and some “down home” solos that put the cherry on the icing on the cake! Jeff Williams put the Swamp Dogs together some six years ago. In that time the band has become a mainstay on the music scene in London and the South East.
Buy/ Stream it here: orcd.co/thejazzroom
UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.
Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.
Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz.
As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut’s Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”.
‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat.
Buy / Stream the single: https://orcd.co/finderskeepers
Ahead of a hotly anticipated full-length album slated for release on BBE in early 2020, MF Robots make their label debut with a funkafied new version of the slept-on Chairmen Of The Board classic ‘Finders Keepers’.
Coming together in 2013 as members of the Brand New Heavies, band founder Jan Kincaid and vocalist Dawn Joseph instantly clicked and began writing new songs within a week of first meeting. Calling themselves MF Robots, a subtle reference to today’s generic musical landscape, the duo left the Heavies to pursue their burgeoning partnership, which has already borne a great deal of fruit in a short space of time.
Currently putting the finishing touches to their (as yet untitled) new album for BBE, we’re excited to offer up a taste of the MF Robots sound in the form of this stunning cover of 1974 Chairmen Of The Board track ‘Finders Keepers’. Dawn Joseph’s powerful vocals shine bright on this uptempo, horn and clav-laden version, while Jan Kincaid’s distinctive rhythmic arrangement keeps the track rolling forward with a hefty portion of funk momentum.
Buy it here: orcd.co/bbe500 For BBE Music’s landmark 500th release, the label joins forces with Louie Vega, Leroy Burgess and Patrick Adams to revisit ‘Barely Breaking Even’, the iconic track after which the label is named.
Coaxed into the studio together by BBE founder Peter Adarkwah, Grammy winning House music hero Louie Vega, arranger extraordinaire and New York disco royalty Patrick Adams, plus the song’s original writer (and king of boogie) Leroy Burgess soon got to work. Even given the caliber of those involved in this special session, the results are simply exceptional.
Featuring live strings by The Apple Hill String Quartet arranged by Adams and Burgess, Vega’s ‘Boogie Mix’ stays faithful to the Universal Robot Band original, with potent vocal performances and a tough new groove for 2019.
It was at the string recording session for the boogie version that Louie Vega unveiled his ‘NYC House Mix’ to the assembled musicians, at which point he and Leroy Burgess quickly arranged a brand new horn section and re-wrote the song’s melody to compliment the track’s accelerated pace. What the team emerged with is so much more than a remix- it’s a unified call-back to two golden eras; that of disco-boogie and that of New York House. And it’s beautiful. – words by Will Sumsuch (5 Mag)
Buy/Stream: https://orcd.co/animalsgarden
The fifth release in the BBE Music J Jazz Masterclass Series has the perfect combination of rarity and exceptional musicality that inspires seasoned collectors to break out in a sweat. ‘Animals Garden’ by Miyasaka + 5 was originally issued in 1979 on the cult private Japanese label ALM and is reissued for the first time on LP, CD and digital formats.
‘Animals Garden’ was a one-off project led by master drummer Takashi ‘Bear’ Miyasaka and features a powerful and progressive jazz group including saxophonist Koichi Matsukaze, whose ‘Earth Mother’ album has also been reissued by BBE Music.
The four extended tracks on ‘Animals Garden’ exemplify the high standard of playing and arranging that was a characteristic of jazz composed and recorded in Japan during the late 1970s. All four numbers were composed by Miyasaka and the album spans a range of styles, from febrile post-bop and head nodding modal, to deep funky blues and elegiac balladry. The title track was included on J Jazz Volume 2, but the three remaining cuts are equally enchanting.
Buy / stream the album: orcd.co/collections1 London production hero and DJ Simbad (aka SMBD) joins forces with BBE Music for retrospective album ‘Collections Vol.1’.
Despite having produced a stellar series of remixes for the label over the years, ‘Collections Vol.1’ is Simbad’s debut on BBE as an artist, so he’s brought a few friends along for the ride. The album features guest vocals from Lulu James, LaAerial, Steelo, Entek, Byron The Aquarius, Rae Rae, Claudia Smith and Miryam Solomon, all deftly framed by Simbad’s distinctive, warm, jazz-infused production.
Although a constant traveller, Simbad’s affinity with the UK, and in particular London, has placed him at the centre of the city’s music scene for many years now; with influences and inspirations flowing in both directions between him and his adopted hometown.
Says Simbad: “I came to London end of the 90’s with my saxophone for a summer and ended up staying. This is the place where my music journey as a DJ & a producer truly began. The culture of this island hit me hard & deep. And because most of the stuff I’ve done is still unreleased (and I never stop making music where ever I go) I am absolutely delighted to share this collection of tunes featuring some of the most talented singers (and friends for life) that I had the pleasure to work in these last 10-15 years, recorded in my London studio sanctuary throughout the years. And hopefully even the old songs still stand the ground…”
Buy / Stream: orcd.co/hepnotherapy BBE Music present ‘Hepnotherapy’, a 2017 album by London swing group The Hep Chaps.
The Hep Chaps were founded in 1996 after David Howarth and John Wallace met up in the West End of London performing in the stage musical Good Rockin Tonight. They found a musical empathy in the sound of the 30s and 40s and formed a duo specialising in self-penned works with zany lyrics and punchy swing rhythms. In 2005 they formed a six-piece group.
Mingling well-known swing tunes from the 30s & 40s with their own originals in the same classic style this band is one of the most fun & accessible dance bands around.
The band have performed at swing dance clubs, festivals, parties & balls all over the UK and in Europe with special appearances at London’s famous 100 Club, The Jitterbug Ball, The Rhythm Riot & The Swing Cats Ball as well as at Copenhagen’s famous Jazzhouse.
Vinyl & Digital available here: orcd.co/deepjazz3
Founder of London record shop IF Music and vinyl hunter extraordinaire, Jean-Claude drops the third glorious volume of his compilation series ‘A Journey Into Deep Jazz’ on BBE Music.
True to the album’s ‘You Need This’ tagline, Jean-Claude has once again dug deep in his personal collection, emerging with an eclectic yet coherent selection of jazz sounds. Skimming the list of featured artists, such as James Brown’s former trombonist and musical director Tyrone Jefferson, Hungary’s all-time great jazz guitarist Szabó Gábor István, Czech band Jazz Celula and India’s Jazz Yatra Sextett, gives a sense of the album’s global scope. From rare cover versions of classics originally penned by Dizzy Gillespie and John Coltrane to original Japanese Mambo via an Afro-centric hip shaker made in Hungary, ‘A Journey Into Deep Jazz Vol. 3’ travels all over the map in search of sonic bliss.
As Jean-Claude puts it: “by now you are all aware of how this works: a collection of obscure and rare jazz nuggets that have gone underappreciated for years and need to be given their day in the sun. This time ‘round we have managed to license a host of prime club joints to rock your dance-floor, as well as a few gentler moments for the more sedate of you out there.”
Buy / stream the album 'Topology': orcd.co/topology
BBE Music presents the fourth release in their acclaimed J Jazz Masterclass Series: Topology by Makoto Terashita and Harold Land. Originally released in 1983 on the cult Aketa’s Disk label, Topology captures a surprising yet fascinating and engaging collaboration between a young Japanese jazz pianist and an elder American statesman of jazz.
Reissued by BBE Music for the first time since original release 36 years ago, Topology showcases the extraordinary compositional and playing skill of Makoto Terashita, the young pianist responsible for five of the album’s six tracks, alongside the confident and seasoned tones of Harold Land, respected US veteran sax player and former colleague of some of the leading jazz artists of the 50s, 60s and 70s including Max Roach, Clifford Brown, Gerald Wilson and Bobby Hutcherson.
By the time he came to record with Terashita in 1983, Land was in his mid-50s and had numerous album credits under his belt, including some twelve albums as leader. In contrast, Terashita was in his early 30s with just one album to his name, his stunning 1978 debut Great Harvest. Notwithstanding the apparent disparity in experience, the creative relationship they fostered is audibly evident in the wonderful music that was captured during the recording session.
Topology kicks off with ‘Dragon Dance’, an epic spiritual jazz tour de force elegantly ushered in by an extended solo piano introduction from Terashita. This track was chosen to open volume 2 of BBE’s universally praised ‘J Jazz’ compilation. The energy and impact of tracks like ‘Dragon Dance’ and the powerful bop of ‘Crossing’- both Terashitsa-penned numbers – is balanced by more nuanced and reflective tracks like Land’s own composition ‘World Peace’. In total, Topology presents the listener with a complete experience of two musicians from different generations and countries united in musical spirit.
A long out of print rarity known only to a handful of Japanese jazz collectors, Topology is now available once more, reissued for the first time as a 45rpm double 180g LP, featuring exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated plus a new extended 3700 word essay by Tony Higgins. Topology is also available as a CD and across digital formats.
The J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy/ Stream it here: https://orcd.co/thejazzroom
UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.
Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.
Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz.
As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut’s Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”.
‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat.
Buy / Stream the album: orcd.co/jjazz2
Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Records is thrilled to present another exploration into the very finest Japanese modern jazz.
J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.
The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats.
Buy / Stream the album: https://orcd.co/animalsgarden
The fifth release in the BBE Music J Jazz Masterclass Series has the perfect combination of rarity and exceptional musicality that inspires seasoned collectors to break out in a sweat. ‘Animals Garden’ by Miyasaka + 5 was originally issued in 1979 on the cult private Japanese label ALM and is reissued for the first time on LP, CD and digital formats.
‘Animals Garden’ was a one-off project led by master drummer Takashi ‘Bear’ Miyasaka and features a powerful and progressive jazz group including saxophonist Koichi Matsukaze, whose ‘Earth Mother’ album has also been reissued by BBE Music.
The four extended tracks on ‘Animals Garden’ exemplify the high standard of playing and arranging that was a characteristic of jazz composed and recorded in Japan during the late 1970s. All four numbers were composed by Miyasaka and the album spans a range of styles, from febrile post-bop and head nodding modal, to deep funky blues and elegiac balladry. The title track was included on J Jazz Volume 2, but the three remaining cuts are equally enchanting.
Buy/Stream the album: https://orcd.co/discosoccer
BBE Music is delighted to present the first ever reissue of ‘Disco Soccer’, the 1979 album from Ghanaian sportsman turned musician Alhaji Sidiku Buari.
Originally an athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Buari moved to America on a music scholarship from The York Institute, obtained as a result of his athletic achievements.
Buari soon became enthused by baseball, training with the York team and occasionally playing in matches. When one of York’s music teachers heard him singing inspirational team-builder songs and chants for his side – in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them.
It won’t surprise you to hear that said Americans loved the demos- so, in 1975, he recorded his first album – the first of fifteen. Buari went on to collaborate with Bernard Purdie, Sugar Hill’s Steve Jerome and Salsoul’s bassman, Gordon Edwards.
A switch to Polydor in 1979 produced Disco Soccer, and if you’re into disco or boogie or any hybrid thereof, this is a must-have album. A homage, Ay to Zee, to New York’s late 70s disco scene, filtered through an Accra late-night haze: Ga vocals and West African percussion all the way, all of it composed and produced by the artist himself. A generous eleven tracks of all killer-no-filler boogie business: one of those albums you just put on, and leave on.
An essential partner to BBE’s double Buari LP Feelings/Sidiku Buari & His Jam Busters, Disco Soccer is reissued from the original masters and reproduced on 180-gram vinyl with new liner notes and original artwork.
Buy / Stream the album 'Feelings': orcd.co/feelings
BBE Music presents two back-to-back, impossibly scarce and NYC Afrodisco albums by Sidiku Buari & His Jambusters, originally released on short-lived and highly collectible imprint ‘Precious Records’.
Accra funk, village-party, anthem-packed LPs from the prolific output of Alaji Sidiku Buari, gold-winning sprint athlete, dancer, singer, arranger, composer, cinema and club founder, award-winning music video producer – and, latterly, president of Ghana’s Musicians’ Union as well as recipient of a Lifetime Achievement Award of the Pan- African Society.
Sharp Club 54 production values – Music, Feelings, Karambani- combine with Accra village-style party vibes – Yayo Papa, Minsumobo- and Buari’s socially conscious lyrics – Anokwar, Power To My People- to produce more than two hours’ worth of music that will have you stuttering for superlatives.
Buy Stream the album: orcd.co/waikikileaks
BBE Music presents ‘Swing Luau’ an album by ‘The Waikiki Leaks‘, an Italian band venturing into the world of Hawaiian music. Combining Hula, Jazz and Swing styles, the group regularly has dance floors bouncing and listeners’ ears flapping across Italy.
Francesca Faro, also known as Jazz singer “Miss Faro”, has specialized in Swing vocals of the ’30s and 40s. Her voice is inspired by singers like Peggy Lee, Anita O’Day, Helen Foster and Doris Day, to name just a few. In The Waikiki Leaks “Miss Faro” has merged her vocal style with the sounds of Hawaiian music, reinforcing the Swing component of the Hapa Haole genre.
A “cool jazz” aficionado, Filippo Delogu devoted himself to swing music and traditional Jazz from a very young age, becoming a respected rhythm guitarist in the Roman Jazz scene. He brings his solid big band background to the rhythm section of The Waikiki Leaks, contributing to the subtle dialogue between his guitar and Flavio’s steel guitar along with his tight crisp solos.
Alfredo Romeo, a long-time swing drummer, bringing to The Waikiki Leaks his vast knowledge of Afro-Cuban music, enriching the drums with various percussion aids. Have a listen to “Little Brown Gal” and you will understand what I mean.
Double Bass player Light Palone brings a strong Blues and Swing inspired style to The Waikiki Leaks. Taking inspiration from players such as Walter Brown, Red Callender and Eddie Calhoun to name just three.
Flavio Pasquetto, as founding member of The Waikiki Leaks, plays Steel Guitar, ukulele, glockenspiel and sings. In his career as a musician he has focused on Swing, Western Swing, American Roots and Honky Tonk, joining several bands along the way specialising in these genres. Over the years Flavio has developed a profound passion for the music of Hawaii and a great respect for its culture. For this album Flavio chose some well-known standards of the Hapa Haole (Hawaiian Swing) repertoire, as well as some Swing classics, and wrote arrangements for the Trio and the Quintet, adding his personal touch to the music and building on each band member’s talents and skills. The result is a unique sound, combining Hawaiian music with Jazz and Swing. The Waikiki Leaks take inspiration from the great players and musicians from the golden age of Hawaiian Music, Andy Iona and his Islanders, The Hawaiian Village Serenaders with Jules Ah See and Alfred Apaka, David Keli’i, Pua Almeida and The Sunset Serenaders and Billy Hew Len to name a few.
Buy / Stream the EP: orcd.co/dishwaterblues1
Singer Margaret Grace joins forces with Italian producers Luis Radio and Souldynamic for the first of a trio of Soulful House EPs on BBE Music, entitled ‘Dishwater Blues’.
Comprising 4 original tracks, Dishwater Blues Vol.1 is simply a welcome return to song-based, meaningful Deep House Music, with warm and lush production throughout. Hypnotic arrangements, soul-drenched vocals and original melodies are the order of the day here- timeless material from a talented group of lifelong fanatics.
Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen.
Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy the album on Vinyl/CD/digital formats: https://orcd.co/benjagga
Ben Jagga’s long-deleted sole solo release ‘Hold On Pretty Woman’ is the epitome of Tabansi/Taretone soul-funk- boogie-disco in its prime, and is very much a family affair. This is the first-ever reissue.
Producer is Ephraim Nzeka (of Brother To Brother fame, as ‘Ephraim’), and backing vocals come courtesy of artists all with their own solo efforts out on the label: Bummy Olajubu, Judith Ezekoka, Zak Roberts, Eric Kol and Nkem Njoku (see the BBE reissue catalogue for killer LPs from the last two artists, in particular).
Instrumentation is a tight, stripped-down unit: bass, guitar, drums and keyboards – and the mixdown man is Martin Ikebuaku, one of the unsung geniuses of the West African boogie sound, with literally hundreds of well-regarded sessions on almost every major Nigerian label under his belt.
The album has long been in-demand among outernational boogie fans, and usually changes hands privately for princely sums (as of the date of writing these notes, it’s never been offered for sale on Discogs, probably the world’s leading rare vinyl sales site).
Buy the album here, on Vinyl/CD/Digital: https://orcd.co/zorro
In 1979 the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it.
CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable. Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion. Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champeta picoteros (sound system selectors) instead.
In Kinshasa they say ‘Miziki ezelaki eleng ndeko’- ‘Sweet music, brother!’. Roger that.
US vocalist Margaret Grace returns to BBE Music alongside Italian producers Luis Radio and Souldynamic with the second of three subtle, soulful House EPs entitled ‘Dishwater Blues’.
The EP opens with jazz and gospel-influenced cut ‘You Got’, which showcases Margaret Grace’s natural & intimate delivery perfectly. Second tune ‘This House’ pays tribute to the music we love, with uplifting pianos and smooth chords. ‘Play With Fire’ lays down a classic House bass-line and a catchy vocal hook, enhanced by warm electric pianos. Final track ‘Till I Found You’ builds around a steady, uncluttered bass groove, pushing Grace’s vocal harmonies to the fore, conveying an uplifting lyrical message.
More about the artists: Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen.
Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy the album here on Vinyl/CD/Digital: https://orcd.co/palaver
BBE Music unearths ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor.
If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound.
In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour.
But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years.
Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked.
Yes, replied Peter- but WHAT unissued material?
Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others.
Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.
Buy it here on Vinyl/CD/Digital formats: https://orcd.co/dytomite
The Dytomite Starlite Band of Ghana is an extremely rare, never-before-reissued, in-demand LP by an unknown, single-album band from the early 80s, recorded in Nigeria’s Tabansi studios by an augmented highlife band.
So, who plays and sings on this beautiful collection? Unfortunately little can be gleaned from the original sleeve, which features a picture of only two band members on the cover and no credits or notes whatsoever.
The vocals are ‘pure Ghana’, but our guess is that some of the keyboard parts are taken by Tabansi’s peripatetic production genius Jake Sollo- who may have had a part in the characteristically clean production and engineering, too. And it wouldn’t be surprising if a handful of the Tabansi Studio Band- the incredibly versatile Martins Brothers and cohorts thereof – found their way into the mix somewhere along the line.
The music? Varied cuts of classic late 70s/early 80s Accra highlife, as well as South African township jive-flavoured horn sections and Afro-Cuban clave –patterns.
Buy the album here: The Mississippi Swamp Dogs celebrate the rich musical heritage of New Orleans and the Deep South with this heady Gumbo mix of funky, bluesy, soulful and above all, joyful collection of songs. Skilfully and authentically played by masters of the idiom, prepare yourself for a groovy ride through the repertoire of such greats as B.B. King, The Neville Brothers, Sidney Bechet, Dr John and Professor Longhair (H Byrd). Music from the Deep South is honest music. Music to dance to, music to make love to and even to say goodbye to your loved ones to.
The Mississippi Swamp Dogs also love playing music associated with the region. Enjoy a blistering version of Paul Simon’s “Late in the Evening” which totally sums up the joy of a sultry night of music making in a packed club. Then listen to the heart-rendering story of Louisiana, written by Randy Newman a tragic tale pre-empting Hurricane Katrina’s disaster.
Always the love of the music comes over from this talented group of players, drawn from some of London’s finest performers. Paul Miller on vocals and keyboards is probably one of the best blue-eyed soul singers of his generation; Dan Miller on guitar is always spot on whether soloing or adding to the phenomenal groove the band creates. In the engine room no one betters the talents of Manel Alvarez on bass and Jono Lee on drums. On congas, guesting with the band is Paul Urwin. Finally Ned Bennett on saxes and Jeff Williams: bandleader, vocalist and trombone, produce the fattest, juiciest horn sound and some “down home” solos that put the cherry on the icing on the cake! Jeff Williams put the Swamp Dogs together some six years ago. In that time the band has become a mainstay on the music scene in London and the South East.
Buy it here: https://orcd.co/bbe500 For BBE Music’s landmark 500th release, the label joins forces with Louie Vega, Leroy Burgess and Patrick Adams to revisit ‘Barely Breaking Even’, the iconic track after which the label is named.
Coaxed into the studio together by BBE founder Peter Adarkwah, Grammy winning House music hero Louie Vega, arranger extraordinaire and New York disco royalty Patrick Adams, plus the song’s original writer (and king of boogie) Leroy Burgess soon got to work. Even given the caliber of those involved in this special session, the results are simply exceptional.
Featuring live strings by The Apple Hill String Quartet arranged by Adams and Burgess, Vega’s ‘Boogie Mix’ stays faithful to the Universal Robot Band original, with potent vocal performances and a tough new groove for 2019.
It was at the string recording session for the boogie version that Louie Vega unveiled his ‘NYC House Mix’ to the assembled musicians, at which point he and Leroy Burgess quickly arranged a brand new horn section and re-wrote the song’s melody to compliment the track’s accelerated pace. What the team emerged with is so much more than a remix- it’s a unified call-back to two golden eras; that of disco-boogie and that of New York House. And it’s beautiful. – words by Will Sumsuch (5 Mag)
Buy the album here: https://orcd.co/dottedline BBE Music presents ‘Sign On The Dotted Line’ a two track EP from three-piece UK rockabilly combo The Houserockers.
Playing only 50s classics and their own compositions, The Houserockers band was founded by guitarist and lead singer Rob Glazebrook.
An inspiration to many modern artists working the UK circuit due to his distinctive guitar playing and singing styles, Rob also has a Blues band called The Playboys.
As evidenced by these two great tracks recorded in Essex UK, The Houserockers offer up a great authentic sound with every tune they play- be it a Jiver, Bopper, Rocker or Stroller.
Buy the album here: https://orcd.co/dottedline BBE Music presents ‘Sign On The Dotted Line’ a two track EP from three-piece UK rockabilly combo The Houserockers.
Playing only 50s classics and their own compositions, The Houserockers band was founded by guitarist and lead singer Rob Glazebrook.
An inspiration to many modern artists working the UK circuit due to his distinctive guitar playing and singing styles, Rob also has a Blues band called The Playboys.
As evidenced by these two great tracks recorded in Essex UK, The Houserockers offer up a great authentic sound with every tune they play- be it a Jiver, Bopper, Rocker or Stroller.
Buy the album here on vinyl/digital formats: https://orcd.co/deepjazz3
Founder of London record shop IF Music and vinyl hunter extraordinaire, Jean-Claude drops the third glorious volume of his compilation series ‘A Journey Into Deep Jazz’ on BBE Music.
True to the album’s ‘You Need This’ tagline, Jean-Claude has once again dug deep in his personal collection, emerging with an eclectic yet coherent selection of jazz sounds. Skimming the list of featured artists, such as James Brown’s former trombonist and musical director Tyrone Jefferson, Hungary’s all-time great jazz guitarist Szabó Gábor István, Czech band Jazz Celula and India’s Jazz Yatra Sextett, gives a sense of the album’s global scope. From rare cover versions of classics originally penned by Dizzy Gillespie and John Coltrane to original Japanese Mambo via an Afro-centric hip shaker made in Hungary, ‘A Journey Into Deep Jazz Vol. 3’ travels all over the map in search of sonic bliss.
As Jean-Claude puts it: “by now you are all aware of how this works: a collection of obscure and rare jazz nuggets that have gone underappreciated for years and need to be given their day in the sun. This time ‘round we have managed to license a host of prime club joints to rock your dance-floor, as well as a few gentler moments for the more sedate of you out there.”
Luis Radio delivers a special DJ mix to celebrate his 'Dishwater Blues' EP series with Souldynamic and Margaret Grace.
Check out the EPs Dishwater Blues Vol.1: https://orcd.co/dishwaterblues1 Dishwater Blues Vol.2: https://orcd.co/dishwaterblues2
Paul Murphy delivers an exlusive DJ mix to celebrate the release of his BBE Music compilation, The Jazz Room.
Buy / Stream the album: https://orcd.co/thejazzroom
Buy / stream the album: https://orcd.co/collections1 London production hero and DJ Simbad (aka SMBD) joins forces with BBE Music for retrospective album ‘Collections Vol.1’.
Despite having produced a stellar series of remixes for the label over the years, ‘Collections Vol.1’ is Simbad’s debut on BBE as an artist, so he’s brought a few friends along for the ride. The album features guest vocals from Lulu James, LaAerial, Steelo, Entek, Byron The Aquarius, Rae Rae, Claudia Smith and Miryam Solomon, all deftly framed by Simbad’s distinctive, warm, jazz-infused production.
Although a constant traveller, Simbad’s affinity with the UK, and in particular London, has placed him at the centre of the city’s music scene for many years now; with influences and inspirations flowing in both directions between him and his adopted hometown.
Says Simbad: “I came to London end of the 90’s with my saxophone for a summer and ended up staying. This is the place where my music journey as a DJ & a producer truly began. The culture of this island hit me hard & deep. And because most of the stuff I’ve done is still unreleased (and I never stop making music where ever I go) I am absolutely delighted to share this collection of tunes featuring some of the most talented singers (and friends for life) that I had the pleasure to work in these last 10-15 years, recorded in my London studio sanctuary throughout the years. And hopefully even the old songs still stand the ground…”
An exclusive Tabansi Gold Series DJ mix by Ex Friendly (Truth & Lies Music) for Ransom Note. Read the feature here: https://www.theransomnote.com/music/articles/tabansi-a-treasure-trove-of-african-music-rediscovered/
More info on the Tabansi Gold Series: https://www.bbemusic.com/artist/tabansi/
Buy / stream the album 'Topology': https://orcd.co/topology
BBE Music presents the fourth release in their acclaimed J Jazz Masterclass Series: Topology by Makoto Terashita and Harold Land. Originally released in 1983 on the cult Aketa’s Disk label, Topology captures a surprising yet fascinating and engaging collaboration between a young Japanese jazz pianist and an elder American statesman of jazz.
Reissued by BBE Music for the first time since original release 36 years ago, Topology showcases the extraordinary compositional and playing skill of Makoto Terashita, the young pianist responsible for five of the album’s six tracks, alongside the confident and seasoned tones of Harold Land, respected US veteran sax player and former colleague of some of the leading jazz artists of the 50s, 60s and 70s including Max Roach, Clifford Brown, Gerald Wilson and Bobby Hutcherson.
By the time he came to record with Terashita in 1983, Land was in his mid-50s and had numerous album credits under his belt, including some twelve albums as leader. In contrast, Terashita was in his early 30s with just one album to his name, his stunning 1978 debut Great Harvest. Notwithstanding the apparent disparity in experience, the creative relationship they fostered is audibly evident in the wonderful music that was captured during the recording session.
Topology kicks off with ‘Dragon Dance’, an epic spiritual jazz tour de force elegantly ushered in by an extended solo piano introduction from Terashita. This track was chosen to open volume 2 of BBE’s universally praised ‘J Jazz’ compilation. The energy and impact of tracks like ‘Dragon Dance’ and the powerful bop of ‘Crossing’- both Terashitsa-penned numbers – is balanced by more nuanced and reflective tracks like Land’s own composition ‘World Peace’. In total, Topology presents the listener with a complete experience of two musicians from different generations and countries united in musical spirit.
A long out of print rarity known only to a handful of Japanese jazz collectors, Topology is now available once more, reissued for the first time as a 45rpm double 180g LP, featuring exact reproductions of the original artwork, obi strip and insert. It also comes with the original notes fully translated plus a new extended 3700 word essay by Tony Higgins. Topology is also available as a CD and across digital formats.
The J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese jazz. The series features rare and unreleased material presented in the highest quality reproductions of the original releases, fully licensed and authorised.
Buy / Stream the album: https://orcd.co/jjazz2
Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Records is thrilled to present another exploration into the very finest Japanese modern jazz.
J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.
The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats.
Buy / Stream the album: https://orcd.co/erickol Part of BBE Music’s ‘Tabansi Gold’ African reissue series, Eric Kol’s rare boogie / disco album ‘Today’ epitomises Nigeria on the musical move in the early 80s. With the slow but relentless shrinkage of old-school musical talent and withdrawal of international record company financing following the Biafran war as well as changing tastes, both in Yoruba as well as Igbo and other communities, consumers wanted a home-grown version of what they could hear on American and European airwaves.
Enter seasoned soulful vocalist Eric Kol, multi-instrumentalist and all-round arranging talent Jake Sollo (ex Funkees, Osibisa, etc.) and Lagos studio pioneer Chief Tabansi, plus crew.
Jake Sollo’s synth-boogie magic can be heard to best effect on ‘Rain In My Heart’ and ‘You’re My Solution’ (a big local radio hit back then). Meanwhile, the ‘strings’n’things’ disco vibe is resplendent in ‘the opener ‘Let Your love Rule My World’, whilst ‘I’ll Sing A Song’ deepens the tempo with a soulful ballad arrangement.
This is the first fully authorised vinyl reissue of a boogie classic that almost never appears for sale, even on eBay, but takes pride of place on every seasoned Nigerian vinyl junkie’s ‘want’ lists.
Vinyl / CD / Digital available here: https://orcd.co/discosoccer BBE Music is delighted to present the first ever reissue of ‘Disco Soccer’, the 1979 album from Ghanaian sportsman turned musician Alhaji Sidiku Buari.
Originally an athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Buari moved to America on a music scholarship from The York Institute, obtained as a result of his athletic achievements.
Buari soon became enthused by baseball, training with the York team and occasionally playing in matches. When one of York’s music teachers heard him singing inspirational team-builder songs and chants for his side – in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them.
It won’t surprise you to hear that said Americans loved the demos- so, in 1975, he recorded his first album – the first of fifteen. Buari went on to collaborate with Bernard Purdie, Sugar Hill’s Steve Jerome and Salsoul’s bassman, Gordon Edwards.
A switch to Polydor in 1979 produced Disco Soccer, and if you’re into disco or boogie or any hybrid thereof, this is a must-have album. A homage, Ay to Zee, to New York’s late 70s disco scene, filtered through an Accra late-night haze: Ga vocals and West African percussion all the way, all of it composed and produced by the artist himself. A generous eleven tracks of all killer-no-filler boogie business: one of those albums you just put on, and leave on.
An essential partner to BBE’s double Buari LP Feelings/Sidiku Buari & His Jam Busters, Disco Soccer is reissued from the original masters and reproduced on 180-gram vinyl with new liner notes and original artwork.
UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’. Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named. Paul’s influence on UK Jazz culture simply can’t be overstated, from his short-lived but much beloved imprint Paladin Records to his unswerving support of home-grown talents such as Working Week, Morrissey Mullen & Paz. As a DJ, his musical selections still live large in the memories of those who experienced them. As Coldcut's Jonathon More put it “Paul Murphy used to play the most frenzied and far out funky jazz at my Meltdown warehouse parties”. ‘The Jazz Room’ nicely encapsulates the reason so many greats feel moved to wax lyrical about Paul Murphy’s ear for dance-floor jazz, which is very clearly undimmed after decades behind the decks. Deftly mixing contemporary sounds with trusted bullets that his 1980s audiences will remember well, these tracks are vibrant and potent, with a couple of fiery live recordings thrown in for extra energy and sweat.
Buy / Stream the EP: https://orcd.co/houserockers
BBE Music presents a hard-rockin’ EP from English Rock’n’Roll singer Danny Fisher alongside his ‘Houserockers’, plus Clair Hamlin on piano.
Entertaining crowds across the UK and beyond for over 25 years, Danny Fisher is a rock and roll singer from London. Alongside regular ‘Houserockers’ members Rob Glazebrook (guitar), Nick Hoadley (bass), Nick Simonon (drums), Claire Hamlin provides superb piano grooves to this superbly played and authentic sounding 4 track set.
Says Danny: “This EP was an idea we took from a live gig, where we played these tracks of the cuff. We were originally going to record Johnny B Goode but after sitting at the Dartford crossing for a couple of hours I decided to write a tribute to Chuck Berry instead. I got to the studio showed guitarist Rob Glazebrook the lyrics, he arranged a tune and the then we recorded Mr Berry (Go Johnny Go). As for the remaining tracks, we have put a new edge on some already fantastic classics.”
Buy / Stream the EP: https://orcd.co/houserockers
BBE Music presents a hard-rockin’ EP from English Rock’n’Roll singer Danny Fisher alongside his ‘Houserockers’, plus Clair Hamlin on piano.
Entertaining crowds across the UK and beyond for over 25 years, Danny Fisher is a rock and roll singer from London. Alongside regular ‘Houserockers’ members Rob Glazebrook (guitar), Nick Hoadley (bass), Nick Simonon (drums), Claire Hamlin provides superb piano grooves to this superbly played and authentic sounding 4 track set.
Says Danny: “This EP was an idea we took from a live gig, where we played these tracks of the cuff. We were originally going to record Johnny B Goode but after sitting at the Dartford crossing for a couple of hours I decided to write a tribute to Chuck Berry instead. I got to the studio showed guitarist Rob Glazebrook the lyrics, he arranged a tune and the then we recorded Mr Berry (Go Johnny Go). As for the remaining tracks, we have put a new edge on some already fantastic classics.”
Buy / Stream the EP: https://orcd.co/houserockers
BBE Music presents a hard-rockin’ EP from English Rock’n’Roll singer Danny Fisher alongside his ‘Houserockers’, plus Clair Hamlin on piano.
Entertaining crowds across the UK and beyond for over 25 years, Danny Fisher is a rock and roll singer from London. Alongside regular ‘Houserockers’ members Rob Glazebrook (guitar), Nick Hoadley (bass), Nick Simonon (drums), Claire Hamlin provides superb piano grooves to this superbly played and authentic sounding 4 track set.
Says Danny: “This EP was an idea we took from a live gig, where we played these tracks of the cuff. We were originally going to record Johnny B Goode but after sitting at the Dartford crossing for a couple of hours I decided to write a tribute to Chuck Berry instead. I got to the studio showed guitarist Rob Glazebrook the lyrics, he arranged a tune and the then we recorded Mr Berry (Go Johnny Go). As for the remaining tracks, we have put a new edge on some already fantastic classics.”
Buy / Stream the EP: https://orcd.co/houserockers
BBE Music presents a hard-rockin’ EP from English Rock’n’Roll singer Danny Fisher alongside his ‘Houserockers’, plus Clair Hamlin on piano.
Entertaining crowds across the UK and beyond for over 25 years, Danny Fisher is a rock and roll singer from London. Alongside regular ‘Houserockers’ members Rob Glazebrook (guitar), Nick Hoadley (bass), Nick Simonon (drums), Claire Hamlin provides superb piano grooves to this superbly played and authentic sounding 4 track set.
Says Danny: “This EP was an idea we took from a live gig, where we played these tracks of the cuff. We were originally going to record Johnny B Goode but after sitting at the Dartford crossing for a couple of hours I decided to write a tribute to Chuck Berry instead. I got to the studio showed guitarist Rob Glazebrook the lyrics, he arranged a tune and the then we recorded Mr Berry (Go Johnny Go). As for the remaining tracks, we have put a new edge on some already fantastic classics.”
Buy / Stream the album 'Feelings': https://orcd.co/feelings
BBE Music presents two back-to-back, impossibly scarce and NYC Afrodisco albums by Sidiku Buari & His Jambusters, originally released on short-lived and highly collectible imprint ‘Precious Records’.
Accra funk, village-party, anthem-packed LPs from the prolific output of Alaji Sidiku Buari, gold-winning sprint athlete, dancer, singer, arranger, composer, cinema and club founder, award-winning music video producer – and, latterly, president of Ghana’s Musicians’ Union as well as recipient of a Lifetime Achievement Award of the Pan- African Society.
Sharp Club 54 production values – Music, Feelings, Karambani- combine with Accra village-style party vibes – Yayo Papa, Minsumobo- and Buari’s socially conscious lyrics – Anokwar, Power To My People- to produce more than two hours’ worth of music that will have you stuttering for superlatives.
Available on triple vinyl, CD and digital formats: https://orcd.co/jjazz2 Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Records is thrilled to present another exploration into the very finest Japanese modern jazz.
J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.
The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats.
Vinyl, CD and digital available: https://orcd.co/palaver BBE Music unearths ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor.
If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound.
In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour.
But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years.
Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked.
Yes, replied Peter- but WHAT unissued material?
Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others.
Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.
Buy / Stream the EP: https://orcd.co/dishwaterblues1
Singer Margaret Grace joins forces with Italian producers Luis Radio and Souldynamic for the first of a trio of Soulful House EPs on BBE Music, entitled ‘Dishwater Blues’.
Comprising 4 original tracks, Dishwater Blues Vol.1 is simply a welcome return to song-based, meaningful Deep House Music, with warm and lush production throughout. Hypnotic arrangements, soul-drenched vocals and original melodies are the order of the day here- timeless material from a talented group of lifelong fanatics.
Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen.
Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy / Stream the album: https://orcd.co/brooklynzoo First collaborating on acid-tinged deep house cut ‘Talk To Me’ which featured on Jerome Sydenham’s recent album ‘Cosmic Urban Flight’, Fatima and Jerome team up for fiery long player ‘Brooklyn Zoo’.
Jerome first stumbled upon artist Fatima Njai during one her many powerful street performances in Berlin. He was mesmerised, so much so that the show made an indelible impression and he was moved to reach out to her. Upon meeting, the pair established a musically fruitful connection right away.
After their studio sessions, the pair would often venture out to sample Berlin’s House music scene, both noticing something of a void in terms of musicality. Inspired to fill this gap, Jerome and Fatima immediately began leaning toward strings, percussion, pianos and synths: sounds that represent the essence of House.
The outcome is ‘Brooklyn Zoo’, an album Jerome describes as “an emotional variance of Deep House, with universal street adaptability and a club friendly arrogance.” Staying true to the spirit of House music, the album is at once raw and intimate, soulful and gritty, joyful and intense.
And the title? As Jerome says: “Berlin and Brooklyn have great confluence of underground energies. It is also a reminder of the change of sound style and vibes that have occurred over the years. Exchanging and reflecting on the different and similar experiences. Making the connection between culture, music and the perspectives on the exploitation, progression, presentation and growth of such vibes all lead to the title: BROOKLYN ZOO. This is ultimately an international cultural reference mirroring and uniting the reality of rhythm, fun and love.”
Preview, buy or stream the album here: https://orcd.co/benjagga
Ben Jagga’s long-deleted sole solo release ‘Hold On Pretty Woman’ is the epitome of Tabansi/Taretone soul-funk- boogie-disco in its prime, and is very much a family affair. This is the first-ever reissue.
Producer is Ephraim Nzeka (of Brother To Brother fame, as ‘Ephraim’), and backing vocals come courtesy of artists all with their own solo efforts out on the label: Bummy Olajubu, Judith Ezekoka, Zak Roberts, Eric Kol and Nkem Njoku (see the BBE reissue catalogue for killer LPs from the last two artists, in particular).
Instrumentation is a tight, stripped-down unit: bass, guitar, drums and keyboards – and the mixdown man is Martin Ikebuaku, one of the unsung geniuses of the West African boogie sound, with literally hundreds of well-regarded sessions on almost every major Nigerian label under his belt.
The album has long been in-demand among outernational boogie fans, and usually changes hands privately for princely sums (as of the date of writing these notes, it’s never been offered for sale on Discogs, probably the world’s leading rare vinyl sales site).
Buy Stream the album: https://orcd.co/waikikileaks
BBE Music presents ‘Swing Luau’ an album by ‘The Waikiki Leaks‘, an Italian band venturing into the world of Hawaiian music. Combining Hula, Jazz and Swing styles, the group regularly has dance floors bouncing and listeners’ ears flapping across Italy.
Francesca Faro, also known as Jazz singer “Miss Faro”, has specialized in Swing vocals of the ’30s and 40s. Her voice is inspired by singers like Peggy Lee, Anita O’Day, Helen Foster and Doris Day, to name just a few. In The Waikiki Leaks “Miss Faro” has merged her vocal style with the sounds of Hawaiian music, reinforcing the Swing component of the Hapa Haole genre.
A “cool jazz” aficionado, Filippo Delogu devoted himself to swing music and traditional Jazz from a very young age, becoming a respected rhythm guitarist in the Roman Jazz scene. He brings his solid big band background to the rhythm section of The Waikiki Leaks, contributing to the subtle dialogue between his guitar and Flavio’s steel guitar along with his tight crisp solos.
Alfredo Romeo, a long-time swing drummer, bringing to The Waikiki Leaks his vast knowledge of Afro-Cuban music, enriching the drums with various percussion aids. Have a listen to “Little Brown Gal” and you will understand what I mean.
Double Bass player Light Palone brings a strong Blues and Swing inspired style to The Waikiki Leaks. Taking inspiration from players such as Walter Brown, Red Callender and Eddie Calhoun to name just three.
Flavio Pasquetto, as founding member of The Waikiki Leaks, plays Steel Guitar, ukulele, glockenspiel and sings. In his career as a musician he has focused on Swing, Western Swing, American Roots and Honky Tonk, joining several bands along the way specialising in these genres. Over the years Flavio has developed a profound passion for the music of Hawaii and a great respect for its culture. For this album Flavio chose some well-known standards of the Hapa Haole (Hawaiian Swing) repertoire, as well as some Swing classics, and wrote arrangements for the Trio and the Quintet, adding his personal touch to the music and building on each band member’s talents and skills. The result is a unique sound, combining Hawaiian music with Jazz and Swing. The Waikiki Leaks take inspiration from the great players and musicians from the golden age of Hawaiian Music, Andy Iona and his Islanders, The Hawaiian Village Serenaders with Jules Ah See and Alfred Apaka, David Keli’i, Pua Almeida and The Sunset Serenaders and Billy Hew Len to name a few.
Buy / Stream 'Just Call': https://orcd.co/justcall
Releasing his classic alternative R&B album ‘The Revelation Is Now Televised’ on BBE back in 2005, V has worked with such luminaries as Justin Timberlake, Musiq Soulchild and Will Smith over the course of his long career in music.
‘Just Call’ is a vintage soulful House joint, driven by evocative gospel piano chords, powerful strings and a prodigiously melodic bass-line. V’s smooth vocal tones blend perfectly with those of of House diva Lady Alma, whose performance is simply spellbinding on this gorgeous track.
The package also contains a slightly stripped and chopped ‘Alternate Mix’ which provides a little more pop for the club, as well as instrumentals and even a full acappella for more creative DJs.
Buy / Stream: https://orcd.co/runningofthebulls
Fusing melodic techno, nu-wave and deep house sounds, Coda Deep returns to BBE Music with new EP ‘Running Of The Bulls’.
Reflecting both the energy and the sadness of a Spanish bullfighting event, title track Running of the Bulls is a potent, atmospheric progressive track, blending pristine electronic production with a whole lot of heart and soul.
Second cut ‘Mudlark’ features a hypnotic, heartbeat-like metronome throughout, while sweeping effects and subtle synth arpeggios build a sense of movement and drama, also inspired by the bull’s tragic last journey.
With a cover photo taken by Joey Adarkwah, the brother of BBE founder Peter, ‘Running Of The Bulls’ truly is a BBE family affair.
Buy / Stream the album: https://orcd.co/dytomite
The Dytomite Starlite Band of Ghana is an extremely rare, never-before-reissued, in-demand LP by an unknown, single-album band from the early 80s, recorded in Nigeria’s Tabansi studios by an augmented highlife band.
So, who plays and sings on this beautiful collection? Unfortunately little can be gleaned from the original sleeve, which features a picture of only two band members on the cover and no credits or notes whatsoever.
The vocals are ‘pure Ghana’, but our guess is that some of the keyboard parts are taken by Tabansi’s peripatetic production genius Jake Sollo- who may have had a part in the characteristically clean production and engineering, too. And it wouldn’t be surprising if a handful of the Tabansi Studio Band- the incredibly versatile Martins Brothers and cohorts thereof – found their way into the mix somewhere along the line.
The music? Varied cuts of classic late 70s/early 80s Accra highlife, as well as South African township jive-flavoured horn sections and Afro-Cuban clave –patterns.
Vinyl & Digital available here: https://orcd.co/deepjazz3
Founder of London record shop IF Music and vinyl hunter extraordinaire, Jean-Claude drops the third glorious volume of his compilation series ‘A Journey Into Deep Jazz’ on BBE Music.
True to the album’s ‘You Need This’ tagline, Jean-Claude has once again dug deep in his personal collection, emerging with an eclectic yet coherent selection of jazz sounds. Skimming the list of featured artists, such as James Brown’s former trombonist and musical director Tyrone Jefferson, Hungary’s all-time great jazz guitarist Szabó Gábor István, Czech band Jazz Celula and India’s Jazz Yatra Sextett, gives a sense of the album’s global scope. From rare cover versions of classics originally penned by Dizzy Gillespie and John Coltrane to original Japanese Mambo via an Afro-centric hip shaker made in Hungary, ‘A Journey Into Deep Jazz Vol. 3’ travels all over the map in search of sonic bliss.
As Jean-Claude puts it: “by now you are all aware of how this works: a collection of obscure and rare jazz nuggets that have gone underappreciated for years and need to be given their day in the sun. This time ‘round we have managed to license a host of prime club joints to rock your dance-floor, as well as a few gentler moments for the more sedate of you out there.”
Available on triple vinyl, CD and digital formats: https://orcd.co/jjazz2
Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Records is thrilled to present another exploration into the very finest Japanese modern jazz.
J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.
The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats.
Album Compiler Mike Peden delivers a live, all vinyl mix to mark the release of J Jazz Vol. 2 on BBE Music. Pre-order the album here: https://orcd.co/jjazz2
Following the sell-out success of our landmark compilation, J Jazz: deep modern jazz from Japan 1969-1984, BBE Records is thrilled to present another exploration into the very finest Japanese modern jazz.
J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru Teru Bozo by Teru Sakomoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA.
The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special. J Jazz 2 is available across all formats.
Buy / Stream 'Just Call': https://orcd.co/justcall
Releasing his classic alternative R&B album ‘The Revelation Is Now Televised’ on BBE back in 2005, V has worked with such luminaries as Justin Timberlake, Musiq Soulchild and Will Smith over the course of his long career in music.
‘Just Call’ is a vintage soulful House joint, driven by evocative gospel piano chords, powerful strings and a prodigiously melodic bass-line. V’s smooth vocal tones blend perfectly with those of of House diva Lady Alma, whose performance is simply spellbinding on this gorgeous track.
The package also contains a slightly stripped and chopped ‘Alternate Mix’ which provides a little more pop for the club, as well as instrumentals and even a full acappella for more creative DJs.
Buy / Stream the album 'Reunion': https://orcd.co/reunion
Recorded in Toronto Canada and self released in 1973, ‘Reunion’ is the rare second (and final) album by ‘The Young Ones Of Guyana’, reissued for the first time by BBE Music. Following a successful series of concerts in the UK and their well received 1970 album ‘On Tour’, The Young Ones Of Guyana went their separate ways to concentrate on their studies. As luck would have it, several members of the band wound up in Canada, so in 1973 just for fun, they decided to book some midnight recording sessions in Toronto; ‘Reunion’ was born. Like ‘On Tour’ before it, ‘Reunion’ covers a wide range of popular songs from the era, ranging from soul to pop and even the iconic ‘Love Theme From The Godfather’, all performed in The Young Ones’ relaxed, latin-infused style. The Farfisa organ, which featured so prominently on their first offering, was replaced by a Hammond B3 and Fender Jaguar and Gibson guitars were replaced with Fender Telecasters. Along with two new band members, the Reunion album was recorded at Eastern Sound Studios In Toronto and released in September 1973. This LP was released in Guyana and the Caribbean only, so very few copies ever made it to Europe and the USA, cementing its status as a sought-after gem for record collectors the world over.
Vinyl / CD / Available: https://orcd.co/ewondorythm
Since the 60s, Congolese guitar combos and orchestras have always been popular across West and Central Africa. But the ‘natural fit’ element between East Nigerian Igbo highlife and Congolese rumba and soukous made for a unique beat: highlife-soukous.
Although eclipsed internationally by Lagos, Yoruba, Fela Kuti and Afrobeat, it was highlife- soukous that you’d hear at parties all over southern Nigeria in the late 70s and early 80s.
Outside Africa, the sound proved a special favourite with Colombia’s Carnival Champeta and Pico Sound system DJs – where, even today, you can hear super-rare Bota International original vinyls booming out over 20-foot-high speaker stacks along Colombia’s Caribbean coast, the records being ‘covered up’ in the style of British Northern Soul 45s, or reggae sound system dubplates, so that competitors can’t discover the name of the tune or band.
Welcome to the mysterious world of highlife-soukous – and Bota Tabansi International.
Buy / Stream: https://orcd.co/hepnotherapy BBE Music present ‘Hepnotherapy’, a 2017 album by London swing group The Hep Chaps.
The Hep Chaps were founded in 1996 after David Howarth and John Wallace met up in the West End of London performing in the stage musical Good Rockin Tonight. They found a musical empathy in the sound of the 30s and 40s and formed a duo specialising in self-penned works with zany lyrics and punchy swing rhythms. In 2005 they formed a six-piece group.
Mingling well-known swing tunes from the 30s & 40s with their own originals in the same classic style this band is one of the most fun & accessible dance bands around.
The band have performed at swing dance clubs, festivals, parties & balls all over the UK and in Europe with special appearances at London’s famous 100 Club, The Jitterbug Ball, The Rhythm Riot & The Swing Cats Ball as well as at Copenhagen’s famous Jazzhouse.
Buy / Stream the EP: https://orcd.co/dishwaterblues1
Singer Margaret Grace joins forces with Italian producers Luis Radio and Souldynamic for the first of a trio of Soulful House EPs on BBE Music, entitled ‘Dishwater Blues’.
Comprising 4 original tracks, Dishwater Blues Vol.1 is simply a welcome return to song-based, meaningful Deep House Music, with warm and lush production throughout. Hypnotic arrangements, soul-drenched vocals and original melodies are the order of the day here- timeless material from a talented group of lifelong fanatics.
Describing herself as “just an ordinary girl with a big mouth”, Margaret Grace started her recording career in 2007 alongside local crew The Basement Boys, where her meaningful lyrics, effortless control and passionate delivery immediately stood out from the crowd. Margaret Grace and (Basement Boys’) Teddy Douglas have since collaborated on ‘God Created Woman’, ‘Circle of Life’, ‘Free My Mind’, ‘My Love is Not Blind’, ‘Try Me’ and a cover of Nina Simone’s ‘See Line Woman’ to worldwide acclaim. Margaret also covered Leela James’ ‘My Joy’ for producer Quentin Harris.
First releasing on BBE with 2011’s ‘Organismo’, Luis Radio has been a fixture in Rome’s house music scene since the early 80s. An assistant to Tony Humphries early in his career, Luis has gone to DJ at the world’s finest clubs and festivals, as well as collaborating with the likes of Barbara Tucker and Spen.
Italian duo Souldynamic have been lighting up dance-floors the world over for more than a decade, working with some of the most important voices in house music history, including Josh Milan, Margaret Grace, Peven Everett, Ultra Nate, Monique Bingham, Angela Johnson, Melba Moore and Robert Owens.
Buy / Stream the album: https://orcd.co/brooklynzoo First collaborating on acid-tinged deep house cut ‘Talk To Me’ which featured on Jerome Sydenham’s recent album ‘Cosmic Urban Flight’, Fatima and Jerome team up for fiery long player ‘Brooklyn Zoo’.
Jerome first stumbled upon artist Fatima Njai during one her many powerful street performances in Berlin. He was mesmerised, so much so that the show made an indelible impression and he was moved to reach out to her. Upon meeting, the pair established a musically fruitful connection right away.
After their studio sessions, the pair would often venture out to sample Berlin’s House music scene, both noticing something of a void in terms of musicality. Inspired to fill this gap, Jerome and Fatima immediately began leaning toward strings, percussion, pianos and synths: sounds that represent the essence of House.
The outcome is ‘Brooklyn Zoo’, an album Jerome describes as “an emotional variance of Deep House, with universal street adaptability and a club friendly arrogance.” Staying true to the spirit of House music, the album is at once raw and intimate, soulful and gritty, joyful and intense.
And the title? As Jerome says: “Berlin and Brooklyn have great confluence of underground energies. It is also a reminder of the change of sound style and vibes that have occurred over the years. Exchanging and reflecting on the different and similar experiences. Making the connection between culture, music and the perspectives on the exploitation, progression, presentation and growth of such vibes all lead to the title: BROOKLYN ZOO. This is ultimately an international cultural reference mirroring and uniting the reality of rhythm, fun and love.”
Preview, buy or stream the album here: https://orcd.co/benjagga
Ben Jagga’s long-deleted sole solo release ‘Hold On Pretty Woman’ is the epitome of Tabansi/Taretone soul-funk- boogie-disco in its prime, and is very much a family affair. This is the first-ever reissue.
Producer is Ephraim Nzeka (of Brother To Brother fame, as ‘Ephraim’), and backing vocals come courtesy of artists all with their own solo efforts out on the label: Bummy Olajubu, Judith Ezekoka, Zak Roberts, Eric Kol and Nkem Njoku (see the BBE reissue catalogue for killer LPs from the last two artists, in particular).
Instrumentation is a tight, stripped-down unit: bass, guitar, drums and keyboards – and the mixdown man is Martin Ikebuaku, one of the unsung geniuses of the West African boogie sound, with literally hundreds of well-regarded sessions on almost every major Nigerian label under his belt.
The album has long been in-demand among outernational boogie fans, and usually changes hands privately for princely sums (as of the date of writing these notes, it’s never been offered for sale on Discogs, probably the world’s leading rare vinyl sales site).
Vinyl / CD / Digital available: https://orcd.co/ewondorythm
Since the 60s, Congolese guitar combos and orchestras have always been popular across West and Central Africa. But the ‘natural fit’ element between East Nigerian Igbo highlife and Congolese rumba and soukous made for a unique beat: highlife-soukous.
Although eclipsed internationally by Lagos, Yoruba, Fela Kuti and Afrobeat, it was highlife- soukous that you’d hear at parties all over southern Nigeria in the late 70s and early 80s.
Outside Africa, the sound proved a special favourite with Colombia’s Carnival Champeta and Pico Sound system DJs – where, even today, you can hear super-rare Bota International original vinyls booming out over 20-foot-high speaker stacks along Colombia’s Caribbean coast, the records being ‘covered up’ in the style of British Northern Soul 45s, or reggae sound system dubplates, so that competitors can’t discover the name of the tune or band.
Welcome to the mysterious world of highlife-soukous – and Bota Tabansi International.
Available on vinyl / CD or digital: https://orcd.co/fortheloveofmoney ‘For The Love Of Money’ is a long-lost Afro-disco-boogie-reggae masterpiece from Liberian duo Zack & Geebah, vinyl copies of which change hands for eye-watering sums on eBay. As part of its Tabansi Gold reissue project, BBE Music gives the album a top-quality, heavy-vinyl reissue, with original artwork, for the first time anywhere in the world outside 1980s Nigeria. Boogie classics like ‘For The Love Of Money’ and ‘No Peace No Love’ rub shoulders with the island-funk sound of ‘Take It Easy’ and the Toots-tinged funk-reggae ‘Home Is Home’, on to the soulful mid-tempo magic of ‘My Luck Will Shine’ and ‘Rock To The Music’. That old cliché ‘every one’s a winner’ is -for once- a truism!
Pre-order the 12" EP or digital album: https://orcd.co/collections1
‘Collections Vol. 1’ Sampler 12” vinyl EP is available from September 6th 2019, with the CD / digital album following on October 4th.
London production hero and DJ Simbad (aka SMBD) joins forces with BBE Music for retrospective album ‘Collections Vol.1’.
Despite having produced a stellar series of remixes for the label over the years, ‘Collections Vol.1’ is Simbad’s debut on BBE as an artist, so he’s brought a few friends along for the ride. The album features guest vocals from Lulu James, LaAerial, Steelo, Entek, Byron The Aquarius, Rae Rae, Claudia Smith and Miryam Solomon, all deftly framed by Simbad’s distinctive, warm, jazz-infused production.
Although a constant traveller, Simbad’s affinity with the UK, and in particular London, has placed him at the centre of the city’s music scene for many years now; with influences and inspirations flowing in both directions between him and his adopted hometown.
Says Simbad: “I came to London end of the 90’s with my saxophone for a summer and ended up staying. This is the place where my music journey as a DJ & a producer truly began. The culture of this island hit me hard & deep. And because most of the stuff I’ve done is still unreleased (and I never stop making music where ever I go) I am absolutely delighted to share this collection of tunes featuring some of the most talented singers (and friends for life) that I had the pleasure to work in these last 10-15 years, recorded in my London studio sanctuary throughout the years. And hopefully even the old songs still stand the ground…”
From Ebo Taylor's long lost album "Palaver" To be released 13th Sep 2019. Pre-order / stream: https://orcd.co/palaver
BBE Music unearths ‘Palaver’, a long-lost, previously unreleased 1980 album from Ghanaian guitarist and songwriter Ebo Taylor.
If Fela Kuti was the king of Nigerian Afrobeat, then Ebo Taylor, 83 and still playing hard, is the king of Ghana Funky-Highlife. No doubt whatsoever. Much of Ebo’s beautiful 70s and 80s output has been reissued, as more and more Afro music lovers are being converted to his unique pan-West African sound.
In 1980 while on a club tour of Nigeria with his regular touring band, Ebo bumped into Chief Tabansi of Tabansi Records. They agreed that Taylor would record a one-album session to be released exclusively on Tabansi. Within a few days the deal was signed, the session completed, the tapes signed off, and Ebo and his band went on their way to complete their Nigerian tour.
But for reasons that no-one (including Ebo) can now fully recall, the master tapes got shelved in a dusty backroom in Tabansi’s Onitsha HQ. Where they remained, undisturbed, unreleased, unplayed, for almost forty years.
Last year, Peter Adarkwah of BBE Music signed off on a major multi-album reissue deal with Tabansi and its affiliated labels. ‘What about unissued material, if we find any?’ Joe Tabansi, Chief’s son and current administrator of the label, casually asked.
Yes, replied Peter- but WHAT unissued material?
Upon which, Joe produces these masters. The tapes are rushed to the redoubtable Carvery vinyl remastering and pressing plant in East London, and all at BBE soon realised that they had a masterpiece on their hands. All-new material, all Ebo’s own compositions, all recorded with Ebo’s crème-de-la-crème touring and recording players, including George Amissah. Mat Hammond, George Kennedy and George Abunuah among others.
Here it is, for the first time, anywhere. Ebo Taylor’s Lost Nigeria Sessions.
DJ, collector and London record shop owner Jean-Claude performs a special, all vinyl mix to mark the release of his BBE compilation IF Music presents You Need This – A Journey Into Deep Jazz Vol. 3.
Pre-order the album here: https://orcd.co/deepjazz3
Vinyl / CD / Digital: https://orcd.co/afrotunes
On this rare pressing from Nigeria’s Tabansi label, reissued by BBE Music, we have the mystery man Ojo Balingo, juju music master.
Popularised all over the globe by King Sunny Ade in the 1980s, juju music had actually been around for decades before. Resembling highlife music in many ways, juju could be described as a more traditionally African form, mainly played by Yoruba people for Yoruba audiences.
Although the original sleeve artwork implies that this is a ‘various artists’ album, it’s pretty clear that it’s the same unnamed juju band throughout, performing two long tracks, one on each side. Side 1 calls forth more traditional juju sounds, whilst the darker Side 2 adds funk breaks galore. Psych-rock Hawaiian guitars, talking drums and political lyrics rub shoulders in this almost-unknown 70s juju rarity.
Ojo Balingo, in Yoruba, means ‘rain comes’, or ‘a breeze comes’. And so it does, with this never-before reissued obscure collectors’ vinyl from the vaults of Tabansi Records.
Buy / Stream: https://orcd.co/runningofthebulls
Fusing melodic techno, nu-wave and deep house sounds, Coda Deep returns to BBE Music with new EP ‘Running Of The Bulls’.
Reflecting both the energy and the sadness of a Spanish bullfighting event, title track Running of the Bulls is a potent, atmospheric progressive track, blending pristine electronic production with a whole lot of heart and soul.
Second cut ‘Mudlark’ features a hypnotic, heartbeat-like metronome throughout, while sweeping effects and subtle synth arpeggios build a sense of movement and drama, also inspired by the bull’s tragic last journey.
With a cover photo taken by Joey Adarkwah, the brother of BBE founder Peter, ‘Running Of The Bulls’ truly is a BBE family affair.
Vinyl / CD and digital available here: https://orcd.co/reunion
Recorded in Toronto Canada and self released in 1973, ‘Reunion’ is the rare second (and final) album by ‘The Young Ones Of Guyana’, reissued for the first time by BBE Music. Following a successful series of concerts in the UK and their well received 1970 album ‘On Tour’, The Young Ones Of Guyana went their separate ways to concentrate on their studies. As luck would have it, several members of the band wound up in Canada, so in 1973 just for fun, they decided to book some midnight recording sessions in Toronto; ‘Reunion’ was born. Like ‘On Tour’ before it, ‘Reunion’ covers a wide range of popular songs from the era, ranging from soul to pop and even the iconic ‘Love Theme From The Godfather’, all performed in The Young Ones’ relaxed, latin-infused style. The Farfisa organ, which featured so prominently on their first offering, was replaced by a Hammond B3 and Fender Jaguar and Gibson guitars were replaced with Fender Telecasters. Along with two new band members, the Reunion album was recorded at Eastern Sound Studios In Toronto and released in September 1973. This LP was released in Guyana and the Caribbean only, so very few copies ever made it to Europe and the USA, cementing its status as a sought-after gem for record collectors the world over.
Order vinyl / CD / digital: https://orcd.co/trumpetking ‘The highlife hep cat of Nigerian jazz trumpet’. Thus spake Louis Armstrong upon hearing Zeal Onyia’s inimitable tone, rhythm and sheer breath-power. One of the founders of West African highlife in both Ghana and Nigeria, Zeal played Ellington-style swing and dance with Bobby Benson in the 40s, classic highlife with ET Mensah in the 50s and provided stiff competition for Fela Kuti’s first band as a small-jazz combo leader in the early 60s.
After studying classical music in Germany for most of the 70s, he returned triumphantly to Lagos in 1979, where he promptly recorded these six memorable tunes with the Tabansi Studio Band. From the village-party vibe of ‘Zeal Anata’ to the instrumental workout ‘Egwu Olili’, every one of the tracks is a winner.
This LP remains one of the most in-demand old-school Igbo-highlife sessions of all time, both in Nigeria and elsewhere, the original vinyl being devilishly hard to find in ANY condition, let alone playable! As part of its ongoing Tabansi Gold reissue series, BBE Music brings you the first ever reissue of this historic record, from the original source, on heavyweight vinyl, complete with original sleeve artwork.
In Nigeria, the Igbo people call this style ‘Agadi-Akwukwo’- ‘old-school’. And they have as much love and respect for it today as they did all those decades ago.
Buy / Stream the album: https://orcd.co/brooklynzoo First collaborating on acid-tinged deep house cut ‘Talk To Me’ which featured on Jerome Sydenham’s recent album ‘Cosmic Urban Flight’, Fatima and Jerome team up for fiery long player ‘Brooklyn Zoo’.
Jerome first stumbled upon artist Fatima Njai during one her many powerful street performances in Berlin. He was mesmerised, so much so that the show made an indelible impression and he was moved to reach out to her. Upon meeting, the pair established a musically fruitful connection right away.
After their studio sessions, the pair would often venture out to sample Berlin’s House music scene, both noticing something of a void in terms of musicality. Inspired to fill this gap, Jerome and Fatima immediately began leaning toward strings, percussion, pianos and synths: sounds that represent the essence of House.
The outcome is ‘Brooklyn Zoo’, an album Jerome describes as “an emotional variance of Deep House, with universal street adaptability and a club friendly arrogance.” Staying true to the spirit of House music, the album is at once raw and intimate, soulful and gritty, joyful and intense.
And the title? As Jerome says: “Berlin and Brooklyn have great confluence of underground energies. It is also a reminder of the change of sound style and vibes that have occurred over the years. Exchanging and reflecting on the different and similar experiences. Making the connection between culture, music and the perspectives on the exploitation, progression, presentation and growth of such vibes all lead to the title: BROOKLYN ZOO. This is ultimately an international cultural reference mirroring and uniting the reality of rhythm, fun and love.”
Album 'Colombian Soul' available here: https://orcd.co/colombiansoul
To most people across the globe, Colombian music (whether traditional or contemporary) usually means energetic, up-tempo latin sounds made for dancing.
Having resided in Colombia for many years now and become a firm fixture in the country’s grassroots music scene, Tricky D has come to know a softer, smoother side to Colombia’s music that most of us never get to hear; so was born his ‘Colombian Soul’ project. As Dean puts it: “I realised that there is no compilation of Colombian downbeat music, so I decided to dig deep and get together collection of dubby, downbeat, minor tuned songs. The result is this collection of 20 spacey, soulful songs recorded by well recognised Colombian artists, many of whom I’ve collaborated with over the past few years.”
Featuring cutting-edge underground sound-system crews and hip hop collectives and Latin Grammy nominated stars alike (and pretty much everything in between), ‘Colombian Soul’ provides a great introduction to the vibrant, eclectic electronic music scene exploding in Colombia today.
Buy / Stream: https://orcd.co/fireburning World renowned DJ and producer Mark Knight makes his BBE Music debut with ‘Fire Burning’, a disco-house gem featuring vocals by Mike City.
Founder of Toolroom Records and long-time fixture on the global club and festival circuits, Mark joined forces with producer James F Reynolds to create this sun-drenched instrumental cut. Drawing on their shared love of gospel, disco and boogie, Mark and James laid down a string-laden, smooth-grooving track, before Mike City dropped a classic soul vocal over the top.
The resultant summer jam is a special one. Award winning, chart-topping songwriter Mike City knows a thing or two about penning classics, and ‘Fire Burning’ is right up there with his best work. The production is sleek and self-assured, carefully crafted with an eye to the dance-floor.
Released just as the 2019 Ibiza season reaches its peak, ‘Fire Burning’ is a timeless track which will surely endure for many more summers to come.
Release Date: August 16th 2019 (digital formats)
Album available on Vinyl / CD / Digital: https://orcd.co/fortheloveofmoney
‘For The Love Of Money’ is a long-lost Afro-disco-boogie-reggae masterpiece from Liberian duo Zack & Geebah, vinyl copies of which change hands for eye-watering sums on eBay. As part of its Tabansi Gold reissue project, BBE Music gives the album a top-quality, heavy-vinyl reissue, with original artwork, for the first time anywhere in the world outside 1980s Nigeria. Boogie classics like ‘For The Love Of Money’ and ‘No Peace No Love’ rub shoulders with the island-funk sound of ‘Take It Easy’ and the Toots-tinged funk-reggae ‘Home Is Home’, on to the soulful mid-tempo magic of ‘My Luck Will Shine’ and ‘Rock To The Music’. That old cliché ‘every one’s a winner’ is -for once- a truism!
Vinyl / CD / Digital: https://orcd.co/afrotunes On this rare pressing from Nigeria’s Tabansi label, reissued by BBE Music, we have the mystery man Ojo Balingo, juju music master.
Popularised all over the globe by King Sunny Ade in the 1980s, juju music had actually been around for decades before. Resembling highlife music in many ways, juju could be described as a more traditionally African form, mainly played by Yoruba people for Yoruba audiences.
Although the original sleeve artwork implies that this is a ‘various artists’ album, it’s pretty clear that it’s the same unnamed juju band throughout, performing two long tracks, one on each side. Side 1 calls forth more traditional juju sounds, whilst the darker Side 2 adds funk breaks galore. Psych-rock Hawaiian guitars, talking drums and political lyrics rub shoulders in this almost-unknown 70s juju rarity.
Ojo Balingo, in Yoruba, means ‘rain comes’, or ‘a breeze comes’. And so it does, with this never-before reissued obscure collectors’ vinyl from the vaults of Tabansi Records.
Vinyl / CD / Digital available here: https://orcd.co/ontour Recorded in London back in 1970, now reissued by BBE Music, ’On Tour’ is the debut album by journeyman band The Young Ones Of Guyana. The group gained popularity in Britain through performances in London and Birmingham following the first Guyanese ‘Mashramani’, a celebration of independence from the United Kingdom. We can only assume this album was recorded during that same visit, produced by bandleader Carlton Ramprashad and issued on his own ‘Rampy’ imprint. Aside from the traditional Guyanese folk song ‘Yellow Girl’, the album covers a wide range of popular reggae, latin and calypso songs of the day, deftly performed by a group of talented musicians. Funky interpretations of reggae smash ‘The Liquidator’ and Sly & The Family Stone’s ‘Sing A Simple Song’ have made ‘On Tour’ a rare and coveted classic for record collectors and DJs worldwide. The Young Ones Of Guyana was an 8 piece band comprising drums and two percussionists alongside bass, lead guitar, Farfisa organ (played by Geoffrey King), lead vocals and rhythm guitar from founder/leader Ramprashad (apart from ‘That Wonderful Sound, which was voiced by Gordon Bevaun). Recorded at the iconic Lansdowne Studios in Holland Park, ‘On Tour’ captures a youthful travelling band, carrying the excitement of their nation’s newfound freedom with them as they invited their former colonial rulers to join them in celebration of Guyana’s music and culture.
Vinyl / CD / Digital available here: https://orcd.co/ewondorythm Since the 60s, Congolese guitar combos and orchestras have always been popular across West and Central Africa. But the ‘natural fit’ element between East Nigerian Igbo highlife and Congolese rumba and soukous made for a unique beat: highlife-soukous.
Although eclipsed internationally by Lagos, Yoruba, Fela Kuti and Afrobeat, it was highlife- soukous that you’d hear at parties all over southern Nigeria in the late 70s and early 80s.
Outside Africa, the sound proved a special favourite with Colombia’s Carnival Champeta and Pico Sound system DJs – where, even today, you can hear super-rare Bota International original vinyls booming out over 20-foot-high speaker stacks along Colombia’s Caribbean coast, the records being ‘covered up’ in the style of British Northern Soul 45s, or reggae sound system dubplates, so that competitors can’t discover the name of the tune or band.
Welcome to the mysterious world of highlife-soukous – and Bota Tabansi International.